Monthly Archives: July 2018

  • Inked Up: the latest intriguing additions to Sir Peter Blake’s Tattooed People series

    Discover an art form within an artwork, as the prolific British artist takes another look at the intricacies of decorative tattoos, and the vivid characters of those who have them. Most of us think that the popularity and acceptance of tattoos is a relatively recent phenomenon, and that prior t....
    Discover an art form within an artwork, as the prolific British artist takes another look at the intricacies of decorative tattoos, and the vivid characters of those who have them. Most of us think that the popularity and acceptance of tattoos is a relatively recent phenomenon, and that prior to the contemporary surge in inked skin, only sailors, bikers and criminals underwent the needle. But that assumption is very wrong. If you saw last year’s exhibition Tattoo: British Tattoo Art Revealed at the National Maritime Museum in Cornwall, you’ll have a better idea about the practice and origins of tattooing, including the fact that in some form, it reaches back as far as the Neolithic period. In different cultures, tattooing has different meanings and motives – from the spiritual to the decorative, and it has even been used as a form of punishment (Ancient Rome and Greece, we’re looking at you). It’s pretty fascinating to delve into, especially if you travel right up to the present day, where artists like Sir Peter Blake are drawing on tattoo culture within their artwork, and tattoo artists are, in turn, taking inspiration from the work of other visual artists (we’ve discussed Audrey Kawasaki’s impact on the Californian ink studios before). But back to Sir Peter Blake and his ink-based story. Long associated with portraiture, Blake started creating his Tattooed People series around 2015. The originals are small watercolours on paper, which depict a number of figures, of all genders, races, shapes and sizes, but the focus is on the intricate details that mark/ decorate their skin. Blake has recently added some new figures to the series, releasing a limited run of 75 prints of his ‘Tattooed Ladies’, some of which our artrepublic curators have secured for you. The print depicts two women – one black, one white – standing side-by-side and directly facing the viewer. They are clothed only by the inked images that adorn their skin; there’s all manner of cultural references here, from native American Indians to cowboys and pin-ups, cartoon characters to Chinese-influenced dragons. Considering the size of the originals, the detail is spectacular. There’s so much to take in that it’s hard to pull your gaze away. But tear yourself away you must, if you want to bring one of these prints home. Fans of the playful Tattooed People series will need to act fast to secure this print, as the signed giclee editions are in short supply. Drop by the gallery and speak to one of our art advisors, or call us on 01273 724829 to talk inked skin...or inked paper with us, alternatively email brighton@artrepublic.com. For more news stories and events visit our Brighton Gallery page $test =
  • Introducing artrepublic’s Modern Masters: Dave White

    As part of our new exhibition, artist Dave White talks groundbreaking sneakers, life beyond convention and the benefits of years of hard work. Dave White’s expressive work might not immediately call to mind Dutch still lifes or Renaissance scenes, but he’s mastered and updated traditional p....
    As part of our new exhibition, artist Dave White talks groundbreaking sneakers, life beyond convention and the benefits of years of hard work. Dave White’s expressive work might not immediately call to mind Dutch still lifes or Renaissance scenes, but he’s mastered and updated traditional paint-to-canvas techniques to create paintings that are packed with energy and meaning. Ahead of artrepublic’s Modern Masters exhibition, we posed a few questions to find out a bit more about the man behind the artworks. AR: In an ideal world, what Master – modern or historic, dead or alive, well-known or lesser-known – would you want to exhibit your work alongside? DW: Van Gogh. He’s my favourite artist; a man who did it his way, ignored convention, found his style, loved life and found beauty in everything. I have a great affinity with that. AR: What about beyond the art world – who do you think is a master of their industry? DW: Tinker Hatfield is one of the most incredible designers in the world, he has created some of the most iconic and groundbreaking sneakers for Nike and Jordan over the past 30 years. Incredibly humble, incredibly talented and a true master of his craft. AR: When it comes to mastering your own craft, are there any rituals you carry out when you get into your studio space each day? DW: I turn on my Macs, select my Sonos playlists for the day, make an Earl Grey tea and play a game of Super Street Fighter II Turbo before I paint. AR: And what about days when you’re feeling uninspired – what do you do to regain your creative mojo? DW: I love what I do and am incredibly grateful – I never feel uninspired. AR: What is the best piece of advice you were ever given in relation to your work? DW: Jarvis Cocker once said ‘An overnight success is 20 years of hard work.’ I’d stand by that. AR: Finish this sentence: When I was little, I always wanted to… DW: ...fight for the Rebel Alliance. Dave White's work will be exhibited as part of our Modern Masters exhibition, 13th July to 15th August 2018 at artrepublic Brighton. Visit our main Modern Masters exhibition page for full details or pick up our latest printed artzine during your next visit to our gallery. Read other interviews by artists taking part in the Modern Masters exhibition: Iva Troj Dylan Floyd Chris Kettle Sarah Shaw Cosmo Sarson   For more news stories and events visit our Brighton Gallery page.   $test =
  • Introducing artrepublic’s Modern Masters: Cosmo Sarson

    From bizarre newspaper cuttings to Renaissance influences, Cosmo Sarson walks us through the ideas behind – and forerunners to – his painting for artrepublic’s Modern Masters exhibition. Having gained global news coverage for his ‘Break-dancing Jesus’ mural – painted opposite a well....
    From bizarre newspaper cuttings to Renaissance influences, Cosmo Sarson walks us through the ideas behind – and forerunners to – his painting for artrepublic’s Modern Masters exhibition. Having gained global news coverage for his ‘Break-dancing Jesus’ mural – painted opposite a well-known Banksy in Bristol back in 2013 – Cosmo Sarson brought his (literally) glittering work to Brighton at the start of this year, sharing his ‘Angel of Brighton’ mural in the heart of the North Laines. Bringing classical style to the streets (and other mediums) with work that like the Old Masters often features religious figures and iconography, Sarson fit the bill for our Modern Masters exhibition. Here he shares some insights into his old-meets-new imagery and tells us the story behind his work for the show at the artrepublic gallery. ‘I studied fine art at the Byam Shaw School of Art and was taught and mentored by two of Britain’s best artists – Peter Kennard and Peter Doig. Both very different artists, they influenced me in diverse ways, in terms of my ideas and my love of paint itself as this sexy, gooey substance. The Byam Shaw was the sister school to the Slade and had a great life drawing and painting tradition, but it also had a very conceptual edge to it. The principal at the time had just come from directing the Serpentine Gallery and had a fantastic address book that brought in the most cutting-edge artists as visiting lecturers that you just wouldn't get in any other art school. So while I come from a very traditional schooling it has also given me a contemporary outlook. This I try to keep in my own work by mixing the old with the new, so the idea of 'modern masters' I find very appealing. I scour the papers every day for the bizarre and shocking, tearing out images and have a large box of cuttings and my studio walls are covered in them. I try to find things that remind me of old paintings or images that I can appropriate and lift in combination with something else to create something new. I suppose this reminds me of Peter Kennard’s work in a way, the idea of collaging, but I also remember Peter Doig telling me he did this too and had a suitcase full of them. I'll sit on these images for years and then one day remember something I cut out and use it for a painting. My ‘Break-dancing Jesus’ painting came about this way, from an old scrap I saved about a Polish youth group being invited to dance for Pope John Paul in the Vatican. The painting I'm exhibiting as part of artrepublic’s Modern Masters exhibition is a play on two ideas; that of my ‘Break-dancing Jesus’ and the reference to Francis Bacon’s 'Screaming Pope', who was actually referencing another painting by Velasquez – ‘Portrait of Innocent X’ combined with a still from the film Battleship Potemkin. I've re imagined Bacon’s version and attempted to bring it back into the classical figurative tradition from which Bacon was trying to escape. If you look at the composition you'll also notice that the window forms a cross above Jesus' head, to be seen as a sign of his impending crucifixion or as the cross he has just gotten down from to dance in front of the Pope. It's as if Christ has come back to life to show the church the way. I suppose if I could hang this alongside any Master the obvious choice would be the paintings I've just referenced by Velasquez and Bacon. Maybe an El Greco too, perhaps 'Christ Driving The Trades From The Temple' might be apt for the chaos caused by Christ in that scene. Having said that, they are Masters for good reason and I'm not worthy of hanging alongside them just yet.’ Cosmo Sarson’s work will be exhibited as part of our Modern Masters exhibition, 13th July to 15th August 2018 at artrepublic Brighton. Visit our main Modern Masters exhibition page for full details or pick up our latest printed artzine during your next visit to our gallery. Read other interviews by artists taking part in the Modern Masters exhibition: Iva Troj Dylan Floyd Chris Kettle Sarah Shaw Dave White   For more news stories and events visit our Brighton Gallery page. $test =
  • Introducing artrepublic’s Modern Masters: Sarah Shaw

    Creating art with heart and authenticity isn’t always easy, but Sarah Shaw has mastered her process. She talks to artrepublic about everything from morning studio rituals to painting through the darkness. Citing influences from Francis Bacon to Goya, artist Sarah Shaw paints scenes that feel ....
    Creating art with heart and authenticity isn’t always easy, but Sarah Shaw has mastered her process. She talks to artrepublic about everything from morning studio rituals to painting through the darkness. Citing influences from Francis Bacon to Goya, artist Sarah Shaw paints scenes that feel simultaneously specific and incomplete. Like the work produced by the Old Masters, the longer you spend looking at one of Shaw’s paintings the more you see… and the more you appreciate her skill and ability with paint. Ahead of the exhibition at artrepublic Brighton, we grabbed a few minutes of this Modern Master’s time to find out a little about what makes her tick. AR: You are one of artrepublic's Modern Masters. What Master (modern or historic, dead or alive, well-know or lesser-known) would you want to exhibit your work alongside, and why? SS: I’m very flattered to be asked to be part of this show! It’s an honour so thank you. One of the highlights of my career so far was showing work in a room which also housed Victor Willing and Frank Auerbach paintings – this was part of the winner’s art show for the National Open at Pallant House in Chichester. I’m still pinching myself about that one. There are far too many historic painters I could mention that I’d love to exhibit with, but top of the list would be Francis Bacon, Goya and Peter Doig; I find them phenomenal and ever-inspiring painters. In terms of living painters, my dream list would include two American painters Alex Kanevsky and Martin Campos, also Adrian Ghenie and Justin Mortimer. All of whom blow my tiny little mind. AR: That’s quite a list Sarah! What about beyond the art world? Who do you think is a master of their industry? SS: No-one who knows me will be very surprised to hear this. It’s got to be Nick Cave and PJ Harvey. Uncompromising, original musicians and artists with the greatest conviction in themselves and their muse. Conviction is a huge thing. It’s a difficult thing to define but when you see it, hear it, sense it, you know it and trust it. That is, to me, what any kind of master of their industry has to have – conviction in their art. AR: When it comes to your own art, do you have any studio rituals that you practice? SS: I’ve recently begun meditating every day to clear my mind and get focused on the work ahead. I do have a little ritual also – I have a little shelf by my window on which are my ancient candle holder, a ceramic heart a friend made me, the aorta of which acts as a handy incense holder and a piece of card which has a beautiful Seamus Heaney quote – ‘I rhyme to see myself: to set the darkness echoing’ – and a line from Robert Burns – ‘Now’s the day and now’s the hour’. I light my candle, light my heart and remind myself of the quotes, find some good music, then paint. AR: And what about if you're feeling uninspired? How do you regain your creative mojo? SS: Good question! I think by its very nature creativity is cyclical. The ups and downs involved are very much part of any process which has any heart and authenticity. The documentation of this cyclical process can often lead to a better piece of work but, like everyone, I struggle with it sometimes.   When I’m going through the darker side of the cycle I sometimes choose to work in an entirely different medium than my usual to try to fire off different synapses in the brain – coming back to painting circuitously through drawing, printing or writing. Sometimes it’s better to turn all the canvases faces to the wall, sometimes it’s better to truck on and put up a fight with them. Occasionally it’s better to just take a walk. But I think it’s important to keep showing up to work; you have to be in the process of making work for inspiration to strike. I think the key thing is not to worry about it too much – just keep showing up. AR: That’s solid advice, too. What is the best piece of advice you were ever given in relation to your work? SS: Hmm, difficult question! I was always advised by my tutors to trust myself, my aesthetic, my process. To be brave and have conviction in my work. When having difficulties with any one painting I was advised to just start another – just keep making and making. I’ve stuck with that – the result of which is a hell of a lot of work on the go at once!   AR: And finally, how would you finish this sentence: When I was little, I always wanted to... SS: Quite honestly – when I was little, I always painted, and it’s all I ever wanted to do.   Sarah Shaw’s work will be exhibited as part of our Modern Masters exhibition, 13th July to 15th August 2018 at artrepublic Brighton. Visit our main Modern Masters exhibition page for full details or pick up our latest printed artzine during your next visit to our gallery. Read other interviews by artists taking part in the Modern Masters exhibition: Iva Troj Dylan Floyd Chris Kettle Dave White Cosmo Sarson   For more news stories and events visit our Brighton Gallery page. $test =
  • Masters of art: Introducing artrepublic’s Modern Masters

    The latest exhibition in our Brighton gallery looks at the contemporary artists who draw inspiration from the Old Masters...and then make it modern. When it comes to art, how do you define a ‘master’? If you’re talking about the Old Masters – renowned artists such as Rembrandt, Leonardo....
    The latest exhibition in our Brighton gallery looks at the contemporary artists who draw inspiration from the Old Masters...and then make it modern. When it comes to art, how do you define a ‘master’? If you’re talking about the Old Masters – renowned artists such as Rembrandt, Leonardo da Vinci, Michelangelo, Willem Kalf and Vermeer – then they’re the skilled painters, working in Europe between the Renaissance and the 1800s, who created some of the most incredible, realistic portraiture and juicy-looking still-lifes that had – and still have – ever existed. But in contemporary terms…? We’ve got a few ideas. And you can discover exactly what those are at our upcoming exhibition, Modern Masters, which runs at artrepublic’s Brighton gallery from 13-24 July 2018. Why Modern Masters? Well, we really couldn’t overlook the fact that among artrepublic’s family of artists we have some contemporary masters – artists whose work offers a nod to the work of the historical greats (see above) but moves it forward into the present day. Within the work of Iva Troj, Chris Kettle, Sarah Shaw, Jake Wood-Evans, Dylan Floyd, Cosmo Sarson and Dave White (and others) you can see threads of reference to the Old Masters’ imagery, styles or themes. From semi-abstract paintings feature glowing embers of colour that pop off the image’s surface in the manner of a Dutch still life to fantastical creatures and Renaissance-style nudes placed in wholly new settings, there’s a visual feast waiting to be discovered. And, because we don’t believe in anonymous or inaccessible art, we’ve spent some time getting to know the artists whose work we’re showcasing – covering everything from their Old Master inspirations to their contemporary studio rituals. Keep an eye on the gallery page in the run up to the exhibition, to read our interviews and find out a little more about our Modern Masters.   Visit the Modern Masters exhibition, between 13th July to 15th August 2018 at artrepublic Brighton. If you’re quick, you might also join the guest list for our preview evening on 12th June, visit our Eventbrite page for details. Read our interviews with artists taking part in the Modern Masters exhibition: Chris Kettle Iva Troj Dylan Floyd Sarah Shaw Dave White Cosmo Sarson   For more news stories and events visit our Brighton Gallery page. $test =
  • Art At Your Fingertips: Marc Quinn’s latest prints are unique portraits of modern life

    The contemporary British artist’s ‘Prismatic Labyrinth’ series offers a thought-provoking social commentary on identity in the 21st century, in a highly unexpected way. Making a statement has never really been an issue for Marc Quinn. The artist first made waves in the art world back in....
    The contemporary British artist’s ‘Prismatic Labyrinth’ series offers a thought-provoking social commentary on identity in the 21st century, in a highly unexpected way. Making a statement has never really been an issue for Marc Quinn. The artist first made waves in the art world back in the Nineties with his self-portrait, ‘Self’, which was crafted from 10 pints of his own blood in a frozen silicone mould. Because of the nature of Quinn’s chosen material, the sculpture is reliant on electricity to maintain its form, thus making a statement about contemporary society’s need to always be plugged in, switched on and connected. Not bad for an opening gambit, right? Since then Quinn’s continued to make work that acts as a social commentary, covering everything from man’s dependency on, and troubled relationship with, technology (see ‘Garden’) to beauty and the widely-held desire for transformation (check out his sculptures ‘Alison Lapper Pregnant’ and ‘Siren’). Clearly, if you want to enter into a discourse about what it means to be human in today’s world, Marc Quinn may well be the artist to speak to. His latest work isn’t shy about saying something about current issues in society either. Through ‘Prismatic Labyrinth’, a trio of limited-edition prints, Quinn considers the tensions between the biological and the man-made – specifically, how one of our unique human markers has become a tool of surveillance culture. Drawing on the paintings and bronze casts that make up Quinn’s ‘Labyrinth’ series, the prints alter the way that we see our fingerprints. In his hands, the labyrinthine pathways that make up the tips of our fingers – and which are almost certainly unique to each of us – become a form of portraiture; the vitality and marbled colours within each line, or pathway, hint at the stories and experiences of the person who the prints belong to. But, because of their abstract nature, we can only guess at their meaning. The longer you think about these prints and what they represent, the easier it is to get drawn into (and lost in) a maze of questions: how much can we really know from a set of fingerprints? Are we talking about the labyrinths that mark out our fingertips, or the complex networks of society? Maps of our identity, or mapping out where we’ve been and what we’ve done? All of these seem quite relevant if you consider the contactless nature of contemporary society. As Quinn himself says ‘we (have) become encoded into a unique abstraction which is also profoundly figurative.’ Basically, we’re teetering on the edge of a rabbit hole of questions, many of which you may want to ponder when you see the prints in person, and some of which you may not want to tackle at all! So let’s step back to the artworks themselves. These thought-provoking talking points, are also interesting in terms of the process used to create them; the trio of giclee prints play with the tactile nature of their subject matter. Each of the edition of 60 is finished with a spot glaze, which is screen printed over the digital image to create a subtle ridge, similar to those found on our own fingertips. It all sounds very simple but, as we’ve seen, there is so much more to these prints than meets the eye. To experience Quinn’s prints in person, call into our Brighton gallery, where our Art Advisors will be happy to help. Tel. 01273 724829 or email brighton@artrepublic.com. For more news stories and events visit our Brighton Gallery page $test =
  • Live Screen Printing Event with Sara Pope

    Friday 27th July, 6-8:30pm, join the artist Sara Pope for a little after work fun at our special free screen printing demonstration evening. See pieces created before your eyes. With limited edition prints, produced and signed by Sara Pope during the evening, also available for purchase. Brou....
    Friday 27th July, 6-8:30pm, join the artist Sara Pope for a little after work fun at our special free screen printing demonstration evening. See pieces created before your eyes. With limited edition prints, produced and signed by Sara Pope during the evening, also available for purchase. Brought to you by Private Press Brighton. To take part in this free event, simply visit our Eventbrite page to register. Hope to see you there! For more news stories and events visit our Brighton Gallery page $test =
  • Join the monthly artrepublic Kids Club

    **Please note, our October Kids Club is now sold out and our November Club is booking up fast**.   Sat 20th Oct 10-11:30am, Event host Benjamin Thomas Taylor talks painting by numbers and unicorn sounds​. Join us for an hour and a half of creative fun, with loads of great activitie....
    **Please note, our October Kids Club is now sold out and our November Club is booking up fast**.   Sat 20th Oct 10-11:30am, Event host Benjamin Thomas Taylor talks painting by numbers and unicorn sounds​. Join us for an hour and a half of creative fun, with loads of great activities for the kids to enjoy. Apply for your FREE tickets today!   Did you know that Leonardo da Vinci taught his apprentices basic painting theory and techniques by numbering patterns on a canvas and designating a specific colour to each number? And did you also know that this was the basis for the original Paint-By-Number kits, which were developed in America in the 1950s? No, we didn’t either until we started thinking about the work of artrepublic artist Benjamin Thomas Taylor, which often references the retro paint kits, and went off on a slight tangent wondering where that whole learn-to-paint-without-technically-learning-to-paint thing began. (Thanks to 'Mental Floss' for clearing that one up for us – we could have disappeared down an internet rabbit hole otherwise!)  But back to the point we started at – the work of British artist Benjamin Thomas Taylor, who happens to be the guest host at artrepublic’s Kids Club session in the gallery this month. We weren’t sure what he had planned for the workshop, and we were overdue a chat with him, so we decided to ask him a few questions about his own art-school education, fantastical imagery (and imagination) as well as his role in this year’s Martlet’s Snail Trail, among other things. We love the snail that you were commissioned to create for the Martlet’s Snail Trail - it sort of carries its environment on its back! Tell us little bit about how you created the design/ got involved with the project. I used a previous painting as a template for the design. This helped me form a loose composition before painting colourful flowers and plants intuitively over the top. The title of the piece alludes to the hotel Matisse lived and worked in while creating his cut-out series. You often use natural forms and landscapes in your work, but give them a highly coloured and slightly fantastical twist. Have you always been drawn to landscape painting? And are these based on specific places or is it all from your imagination? I grew up surrounded by a very dramatic landscape in North Wales. It will always be a subject that fascinates me, mainly because of the sense of possibility I feel when I look at an expanse of space. The first proper painting I did when I was 13 was of a landscape. My art teacher used to take photographs in Snowdonia at the weekend and bring them in for me to paint in my art lessons. However these days my landscapes are created more from the imagination. The blank/ uncoloured areas (that form the text) in your images create this idea of us not quite seeing the full picture. Do these sections in your work hold a particular significance or message? Or is it all really about highlighting the text? The uncoloured areas are used to create a sense of possibility – a sense that the viewer could add their own colours to the work. How do you choose the phrases that are picked out in your hyperreal landscapes? They are often words or phrases that I’ve picked up on and I play with in my mind. This process can take weeks, months or even years. They can come from anywhere and mean anything. I like the way artist Ed Ruscha describes his process of finding words: “Some words are found ready-made, some are from dreams, some come from newspapers,” Ruscha says. “I don't stand in front of a blank canvas waiting for inspiration.” For example ‘What Sound Do Unicorns Make?’ arrived from reading an alphabet picture book with my young twin boys. On each page we’d replicate the noise each animal makes: D is for dog….whoof, E is for elephant...trump, U is for unicorn….ummmm what sound does a unicorn make? I really like the word ‘Happiness’! It contains the word ‘pines’, which links to a lot of my imagery. Happiness is also a very subjective word. Everyone has their own idea of what happiness is? Did you know that Paint-by-numbers kits were originally inspired by an employee at a paint manufacturers, who discovered that Leonardo da Vinci taught apprentices the basics of painting using numbered patterns on a canvas? How does it feel to… follow in da Vinci’s footsteps?! Like da Vinci, Jeff Koons uses the same process with his assistants. So in a way these masterpieces we see by both artists are actually just paint by numbers. This irony is important in my own pieces. Underneath the joyous, colourful, paint by numbers exterior I’m poking a bit of fun at pretentiousness. We saw your attempt to get the public painting by numbers at the Art Yard Sale… based on the collective efforts there, would you say Paint-by-Numbers is actually quite difficult?  That was hilarious! I’m not sure people were really concentrating too much. It was a very hot, busy day. When I paint in that style I really try to make each individual shape a really pleasing form. If I’m painting them on Photoshop I’ll often zoom in really close so you can’t see the overall image. It’s like being an abstract painter, working with just colour and form, which I love. Off the back of that, what do you think is the best way to learn to paint? There is no one way to learn to paint. I think the most important thing is dedication and that can only arise from an absolute love of wanting to make something. When I teach art students who haven’t done much painting before, I always start off by showing them how to mix colours and blend tones together. After that I ask them to look at artists who interest them to figure out and experiment with the techniques and processes they have used. You taught fine art for eight years – what did you learn about your own practice and work during that time? (And why did you leave teaching behind?) I taught Art in school for 8 years. Mostly in East London. It was an incredible experience. Obviously working with young people is hugely rewarding but for my own practice too. Having to figure out the most effective ways of teaching also helped me define and improve the most important parts of my own practice. I’ve left schools now but I’m still teaching. I now a lecture at a college a couple of days a week. As you’re hosting the Kids Club this month, we have to ask who has been your best/ favourite teacher and why? (Can be any level of education/ or out of formal education. And doesn’t have to be art) I’ve had lots of inspiring teachers in my life. The passionate ones are always the best! When I was at school I had a lot of problems with my reading and writing because of my dyslexia. When I started high school my English teacher was a man called Melvin Jones. He was an older teacher and sounded far too posh to be teaching in our school. It was almost as if he had been placed there from another world. He was so interesting and knowledgeable, he seemed to know everything. From someone who really struggled in English it soon became one of my favourite lessons. My mum was having a clear out a few weeks ago and I found my old report from that year. In it he wrote “Even though Benjamin continues to make basic errors with his writing, he has a magical imagination”. He made me believe and see something in myself that I hadn’t seen before. And, if you had the opportunity to learn from a master (alive or dead, contemporary or historical) who would it be and why? I’d love to make a wood cut with Hokusai in 19th-century Japan, that would be interesting! Taking your pieces as prompts: Where do you wish you were? I’ve often fantasised about stepping into one of my pictures and having a walk around. Probably ‘Reunited With Everything You’ve Ever Lost’ would be my favourite. Happiness is… Spending the whole day with my wife and twin boys What sound does a unicorn make? I’m really not sure, though it probably involves glitter!   To take part in this free event, simply visit our Eventbrite page to register. Hope to see you there! Please note: These events are very popular and have limited availability so please register early. Also, please be aware that there will be photography and video of the event which will be used for marketing purposes by artrepublic and our affiliates.   For more news stories and events visit our Brighton Gallery page $test =
  • artrepublic Gallery Event: Spark True Stories

    Thu 16th Aug 7-10pm, join us for Spark True Stories – a live true storytelling evening that’s taken London, Bristol & Glasgow by storm – now at artrepublic, Brighton. Share or hear stories on a different theme, with only three rules: the story has to be true, about the storyteller a....
    Thu 16th Aug 7-10pm, join us for Spark True Stories – a live true storytelling evening that’s taken London, Bristol & Glasgow by storm – now at artrepublic, Brighton. Share or hear stories on a different theme, with only three rules: the story has to be true, about the storyteller and about 5 minutes long. The theme for our August event is: Closure Have you ever gone to great lengths to gain closure, are you still seeking closure on something today? Have you ever happened upon closure by accident? Maybe you have a story about something that happened that allowed you to close the door on needing closure altogether. If you decide to share a story the audience will be there alongside you, rooting you on. To take part in this free event, simply visit our Eventbrite page to register. Hope to see you there! For more news stories and events visit our Brighton Gallery page $test =
  • artrepublic’s Modern Masters Interview: Iva Troj

    Discard the idea of silence in the studio, explore big ideas and challenge accepted truths – artist Iva Troj shares some insights into how she masters her artistic process. Through complex scenes, assembled in a classic Flemish style (layering mediums that include pastels, acrylics and oil pa....
    Discard the idea of silence in the studio, explore big ideas and challenge accepted truths – artist Iva Troj shares some insights into how she masters her artistic process. Through complex scenes, assembled in a classic Flemish style (layering mediums that include pastels, acrylics and oil paints between thin coats of varnish) Modern Master Iva Troj shares a unique and powerful view of the world. Reappropriating the traditional styling and motifs of art history – from Renaissance nudes to Japanese landscapes – she makes art that binds the historical to the present day, forcing us to question the real and imagined structures and stories around us. Ahead of artrepublic’s Modern Masters exhibition, we had a chat with Troj to find out more about her masterful work and the ideas and influences behind it. AR: Apart from artrepublic's Modern Masters, what Master – modern or historic, dead or alive, well-known or lesser-known – would you want to exhibit your work alongside Iva? IT: Artemisia Gentileschi – a follower of Caravaggio and one of the most important Renaissance masters of all time (that most people haven’t heard of). I would be scared to exhibit next to her since the woman is an absolute giant, but I think viewers might appreciate the comparison. AR: What is it about Gentileschi’s work that you find inspiring? IT: It is not her visual vocabulary that has inspired me the most (although that’s impressive) but her visual grammar, as in the way she told her stories. While her contemporaries and most artists today, both male and female, treat women as mere pawns in a game of female representation that serves the patriarchal perspective, Gentileschi made women the owners of their own narrative. She is mostly known for specific circumstances in her life rather than her incredible art which is such a shame. It’s definitely time to change the narrative in art history. AR: And what about figures beyond the art world? Is there anyone you consider to be a master of their industry? IT: I am in absolute awe of people like Rozsika Parker and Griselda Pollock – two art historians that have opened many people’s eyes when it comes to the representation of historically marginalized perspectives in contemporary art. Also, scientists like Neil deGrasse Tyson who have personally taken on society’s worst representatives for the sake of education in a world where ignorance is increasingly celebrated. That’s bravery added to mastery; one of the reasons why I studied for a second BA and a Masters in Science and Philosophy was because I wanted to come closer to that level of understanding of the world. Studying these subjects has greatly enhanced my art practice. It’s something I can definitely recommend. AR: Speaking of your practice, do you have any studio rituals that you follow when you get into your space each day? IT: Yes – I’ve been told it’s a slightly surprising ritual. I like listening to news shows and podcasts while painting. It’s how I keep the whole of my brain occupied. I find all that chatter about working in silence to be absolute nonsense. I don’t think humans can experience silence. Even in an isolation tank you’d hear your own heartbeat and that noise in your brain that’s constantly on. I deliberately avoid people who believe all of the world’s problems can be solved through meditation – it’s quite a hard thing to do in Brighton! Spiritual bypassing is as bad as watching commercial TV all day. I think more people should paint listening to John Oliver and Samantha Bee. AR: If you're feeling uninspired, what do you do to regain your creative mojo? IT: The only time I feel uninspired (which is almost never) is when I am overwhelmed by something mundane in my private life that would not be worth challenging through art. Conflicts inspire me and challenging conventional truths inspires me, so I read books or do theoretical research. The day I stop thinking about these things would be the day I start making bad art. Let’s hope that never happens. AR: What is the best piece of advice you were ever given in relation to your work? Or, what advice do you wish you had been given? IT: I wish that somebody had explained to me that skill and ideology/ philosophy go hand in hand in art. I also wish that somebody explained the male gaze to me when I was a girl so I would be aware of its pitfalls. If I understood that early on I would have prepared better. At the same time, understanding these things is a necessary part of the growth process. AR: Finally, finish this sentence: When I was little, I always wanted to... IT: …learn to paint so well that I could change the stories in Renaissance Art. I didn’t believe I could do it because I was a girl, but I secretly dreamed of being Leonardo, painting murals and building incredible machines. I never dreamed of being a modern artist like Picasso. Picasso had a huge following among my all male art teachers and, as a young girl, I thought that his art reeked of toxic masculinity.   Iva Troj is exhibiting her work as part of our Modern Masters exhibition, visit the exhibition, between 13th July to 15th August 2018 at artrepublic Brighton. Visit our main Modern Masters exhibition page for full details or pick up our latest printed artzine during your next visit to our gallery. Read other interviews by artists taking part in the Modern Masters exhibition: Dylan Floyd Chris Kettle Sarah Shaw Dave White Cosmo Sarson   For more news stories and events visit our Brighton Gallery page. $test =

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