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  • Meet Clive Sefton, the Brighton based artist hosting November’s artrepublic Kids Club

    We asked the local creative to puzzle out a few of our questions. The first crossword puzzle was designed by Arthur Wynne and printed in the New York World in 1913, the earliest word search is credited to Spanish puzzle maker Pedro Ocon de Oro in the first half of the 20th century and Sudoku… w....
    We asked the local creative to puzzle out a few of our questions. The first crossword puzzle was designed by Arthur Wynne and printed in the New York World in 1913, the earliest word search is credited to Spanish puzzle maker Pedro Ocon de Oro in the first half of the 20th century and Sudoku… well that’s got a non-Japanese heritage that goes back far further than the early Noughties brain-training craze. Graphic artist Clive Sefton has created his own play on the soup of letters – the original name for a word search – and it’s one that has the ability to ignite a similar warm, glowy feeling to the one you get after completing an energising workout. We’ll let the artist himself explain that one. As he prepares to host the November artrepublic Kids Club, we caught up with Sefton to talk typography, noticing hidden details, the challenges of long words and all things puzzle-based.   Word searches, mazes, diamond hunts – all of your artworks are highly structured finished pieces, but also playful starting points. Is there a hidden life lesson in here for us?! With a background in graphic design, I like clean, minimal design and good use of white space. I also enjoy artwork that people can interact with and that brings a smile to their faces. In creating my work I’ve discovered that finding a word or the correct path through a maze releases dopamine, the reward chemical, so people actually feel better for looking at my work! With ‘One In A Million’, I love how people can view it so differently. Some people spend ages looking for the diamond, some people almost don’t care where the diamond is, and some people are more interested in the process or how much the diamond cost…! Speaking of ‘One in a Million’ – how do you decide where to place each diamond? Is it random or incredibly specific? I place the diamond in a random place in each one, though can position it in a specific place in a commissioned piece. This might be the coordinates of a geographic location or relate to a specific date. Only the person who owns the piece has the coordinates of where the diamond is hidden. While we’re on the topic of pathways and finding things, can you talk us through your route to becoming a full-time artist? I did a silkscreen printing course with Jane Sampson. Initially I was printing pictures of prawns and crabs but in exploring what I am interested in, specifically typography and ‘accessible’ artwork, the first ‘Brighton Word Search’ came about. I did the course just after reading ‘Rich Dad, Poor Dad’ by Robert Kiyosaki and Sharon Lechter so, as well as really enjoying doing the course, I did have this thought in the back of my mind about how good it would be to be able to make back the money that I had spent on it. The difficulty is taking the step to show your work to people you don’t know, as it’s only then that you can tell if people want to buy it. We’re lucky in Brighton: we have so many opportunities to show our work with little cost up front, and there are so many artists and art buyers around. I first exhibited the Brighton Word Search in an Artists Open House and as well as selling all of the edition, I received my first commission. Since then I’ve learnt so much and created different work, but I’m still creating Word Search pieces for people of all ages, and across the world. Your images encourage people to deeply engage with the artwork – to hunt out the details or hidden pieces. What do you find yourself focusing on or looking at closely in art or life? I love finding faces and animals in everyday life, apparently a phenomenon known as pareidolia. I had an idea a few years ago based on creating images from discarded chewing gum but that hasn’t quite seen the light of day… I also love repeating patterns and grids, whether it be lines on shutters, flyers posted on a wall or even just a sheet of labels! On the flipside of that, are there any things you avoid focusing on at all costs? I’m a bit of a perfectionist so many ideas get parked if it’s not quite right. The longest word in the dictionary is 45 letters long (and a bit of a misery, as it goes) – how big would one of your word searches have to be to hide that monster?! And would you want to work on that scale? I must admit I had to look up what the word is! A square piece with Pneumonoultramicroscopicsilicovolcanoconiosis it would require over 2000 letters in the complete piece – not too much of a problem for a print, but quite a bit of time to make using fridge magnets. What is the most complex piece you’ve worked on to date? And can you give us any hints at upcoming projects we might want to look out for? I’ve just created another word search commission using fridge magnets, which I really enjoyed making. I’m also working on another edition of ‘One In A Million’ as the original was so well received. Finally, you’re hosting the artrepublic Kids Club in November. As a kid, what was your favourite activity and has it ever come into play in your work as an adult? I used to really enjoy making small FIMO models that I sold to craft shops for window displays, usually in return for free FIMO!   Find out how your little ones can join in with the artrepublic Kids Club.   For more news stories and events visit our Brighton Gallery page. $test =
  • Them & Us: Grayson Perry toys with perspectives at Brighton Dome

    What happened when the cross-dressing British artist came to Brighton. The past few years have seen so many major shifts in politics – whether social, cultural, gender-based or national – that (inevitably) you will have been forced to form some kind of opinion on a whole host of issues. T....
    What happened when the cross-dressing British artist came to Brighton. The past few years have seen so many major shifts in politics – whether social, cultural, gender-based or national – that (inevitably) you will have been forced to form some kind of opinion on a whole host of issues. The only way to avoid hot topics such as Brexit, President Trump, #metoo and the death of our oceans because of plastic waste, and remain calm amid the news-based storm, is to have a complete media blackout . Or become a reclusive hermit living in the wilderness somewhere. While the latter may sound appealing, it’s not really a practical option for the vast majority of us. And so, instead, we have become part of an inadvertent game of ‘Them & Us’ which, as it happens, is the name of the talk that artist Grayson Perry is currently taking on tour around the UK. The artrepublic team were lucky enough to get our hands on a few of the hottest tickets in town (Brighton was the first date to sell out on a line-up that included Birmingham, Manchester, Dublin and Edinburgh), and we piled in to Brighton Dome excited to see what gems the famously cross-dressing artist, who has hosted the Reith Lectures and all manner of TV shows, shorts and exhibitions, had to share with the crowd. Despite knowing that Perry is no stranger to using his public platform to highlight social and cultural politics – whether through his talks, tapestries, prints, ceramics or his fashion choices – we weren’t quite sure what to expect. Although we did anticipate a thought-provoking evening, that would likely be quite funny too. Without giving the game away too much, we weren’t disappointed… We can’t say that Grayson himself felt the same way though. Throughout the course of the interactive evening, which challenged our ideas about taste, creativity and culture, and had all the laughter, catcalls and fabulous dresses we might have anticipated, the artist did claim to feel distinct disappointment in Brighton and its famously liberal locals on a number of occasions. We’re still hoping that was simply for dramatic effect…? Them & Us was much like the layers of Perry’s artworks, which blend the opposing ideas of the rebel and the traditionalist, twisting and turning widely accepted viewpoints, ideas and values to make us look at things in a fresh light. If you’re a fan of Perry’s and have a chance to catch the tour  at any of its next stops, we’d definitely recommend you check it out. You’ll certainly come away with something to think about… and, if you’re anything like us, with a smile on your face too. artrepublic has a number of signed limited edition artworks by Grayson Perry. To find out more about any of these pieces, visit the gallery or call us on 01273 724829 to speak to one of our art advisors.   For more news stories and events visit our Brighton Gallery page $test =
  • Euan Roberts Q&A - I'm OK

    The final release of Euan Roberts' 'I'm OK' print has been highly anticipated and received overwhelmingly positive reviews and responses across social media platforms. We were lucky enough to sit down with Euan to talk about this wonderful piece.   R: How have people responded to your new....
    The final release of Euan Roberts' 'I'm OK' print has been highly anticipated and received overwhelmingly positive reviews and responses across social media platforms. We were lucky enough to sit down with Euan to talk about this wonderful piece.   R: How have people responded to your new piece? — E: The response to the print ‘I’m OK – Midnight Edition’ has been hugely positive. For this edition, I teamed with my good friend and incredible screen printer Joe Vass who is a true magician and artisan when it comes to printing. We wanted to create a print that set a really high standard in terms of my  work and I’m so happy with how it’s turned out. People who have seen the print in the flesh have been commenting on the depth of colour and how the water really shimmers in the light.   R: Is mental health something that’s been present in your own life? — E: Sure. I think that mental health is something that affects everyone and making art has definitely been a way for me to maintain my own mental wellbeing. From my first ‘I’m OK’ print I had so many people message me saying that the image had given them strength and that they could relate to the sentiment. As an artist, this is a hugely honouring and gratifying effect to have. I guess the optimistic and playful nature of my work is my way of trying to reinforce my own inner-strength, as sort of visual mantras. For so long I worried and stressed about creating art to the point where it was virtually impossible to commit to making a picture. Now it flows so naturally and with such joy and I don’t feel so precious, I just learnt to have fun with it ☺. I feel wider attitudes towards mental health and mental illness is gradually changing for the better. Society is becoming more sensitive to the fact that it’s ok to not feel ok and people are becoming more open to sharing their thoughts and seeing this vulnerability and openness as a signifier of great strength rather than weakness. If through some small way my art can contribute to this conversation then I’m all for it.   R: How did you feel while producing this piece? — E: I don’t really feel much while I’m making art. When I’m truly in the zone and have achieved a flow state. I think in our increasingly screen-led virtual existence it’s so important to do things that take us away from the constant thought/reaction process we’re used to. I think these beautiful flow states can be achieved not just through making art but cooking, running, sport, yoga, meditation etc. Find something you love doing and during which you forget everything, then try and do it and find this state as much as possible would be my advice.   R: What was the response you were aiming for? — E: It would be unauthentic to say I don’t aim to please people with my art. I understand that what I make might not be everyone’s cup of tea but I just want my creativity to invoke a feeling in the viewer. If my art can cause people to smile and feel happy, even if just for a second before returning them to their everyday existence, feeling little lighter, then I’ve done my job.    R: The print is a very accurate representation of how so many people feel. Was it an idea long in the making? Or did it come to you quite quickly? — E: The original idea came to me very quickly. Last summer I was working on a number of collages on paper, each was made really quick while I was working in my garden. This piece just fell together really. I would ask my girlfriend each day after work how she was, and she would answer ‘I’m OK’ with this really distinct intonation. Almost like “Oooohhhh-Kay”. Anyway, from that initial response she would often then go to elaborate on how she was actually feeling and explain to me the various complexities of her day good or bad. I’m pretty sure that subconsciously this piece is a self-portrait. I’m from Brighton and love being by the sea, so no doubt that is the setting, however, unfortunately, I doubt you’d ever see so many stars in the sky in that part of the country. I was talking to my friend the other day and we were discussing how you never really see the full bounty of stars in the night sky unless you’re on holiday, so maybe I’m actually in a glorious warm ocean on a beautifully clear night…   R: Are there any other artists you admire? — E: The list is so long and continually being added to. I really admire people who make art because they have to. Those people whose evaluation of their work is from an internal source rather than external. The artist’s who will spend their last £10 on a tube of paint and stand inches away from their favourite paintings examining the surface. Art nerds like me basically!   R: Do you have any works planned of a similar nature that you may release in the future? — E: I want to continue to create prints that can be seen as uplifting and energising. The plan is to keep putting art out there whether it's by print releases or shows. I just want my work to be seen in real life as much as possible.   Euan is releasing the standard midnight edition as well as 7 hand-finished pieces, varying in colour. Don't miss out!       $test =
  • Sealed With A Kiss: Sara Pope’s exclusive artrepublic giveaway

    Want to win an original by the artist? Read on and visit the showcase of new work at our gallery. The eyes get a lot of credit when it comes to expressing emotion; they are the windows to the soul, could kill with just a look and sometimes they even go a little starry. But what about the part....
    Want to win an original by the artist? Read on and visit the showcase of new work at our gallery. The eyes get a lot of credit when it comes to expressing emotion; they are the windows to the soul, could kill with just a look and sometimes they even go a little starry. But what about the part the rest of the face plays in showing, or even hiding, our feelings? One person who’s long considered this is artist Sara Pope, whose portraits don’t usually take in the whole face; instead, they focus specifically on a subject’s lips as they move through various emotions. These glossy, glittery and highly saturated pouts, mimicking the slick finish of advertising and often named for the shade of lipstick worn by her models, have become Pope’s trademark. They’ve been applied to canvases, silk screened onto paper and also used to customise shoes. And she hasn’t remotely finished exploring this seductive subject, as you’ll see at her first full showcase at artrepublic Brighton this November. Expect a series of originals that have never been shown in the UK and a very special homage to Pope’s work in fashion – a one-of-a-kind hand-painted leather jacket. This unique piece isn’t merely part of the showcase; it’s the starting point of an exciting event in its own right. Want to know why? We can now reveal that this original piece of Pope’s handiwork will be up for grabs at artrepublic. Not to buy though, and not through an auction, but via a good old competition. Anyone who has registered their tickets for the Sara Pope - Showcase Evening through Eventbrite will automatically be entered. Another way to enter is to take a photo of yourself next to one of Sara's pieces and upload to Instagram. Make sure you tag @sarapopeartist, @artrepublic and use the hashtag #sarapopejacket to be in for the chance to win. With Sara Pope's Show starting on the Thursday 15th November, what better opportunity to enter this prize draw.  A fan of Pope’s work? Then read our lips: you don’t want to miss out on this massive event. To find out more about Sara Pope’s showcase, the exclusive fashion-forward prize draw and to discover more about the limited edition prints we have in the gallery, speak to one of our personal art advisors – just stop by artrepublic Brighton or give us ring on 01273 724829.   Sara Pope Prize Draw Terms and Conditions (see section 18)   For more news stories and events visit our Brighton Gallery page $test =
  • A Subtle Twist Of Line: Richard Berner Live Screen Printing Event

    Meet Richard Berner, the host of this month’s Live Edition Printing evening with The Private Press. ** Please note: Unfortunately this event will not be going ahead as planned, we hope to be able to reschedule in November, we apologise for any inconvenience caused** We will update this page as....
    Meet Richard Berner, the host of this month’s Live Edition Printing evening with The Private Press. ** Please note: Unfortunately this event will not be going ahead as planned, we hope to be able to reschedule in November, we apologise for any inconvenience caused** We will update this page as soon as it's confirmed.   What links Audrey Hepburn, Amy Winehouse, the Houses of Parliament and a tentacle-wielding creature from the deep? Unless you have any other (we’d like to say unlikely) suggestions, the answer to that would be Brighton-based artist Richard Berner. A regular feature on the walls at artrepublic Brighton, Berner’s work blends fine ink work and cultural iconography with a dusting of dark humour. While some of his images are straight-up homages to famous figures, such as David Bowie, Charlie Chaplin and, erm, Storm Troopers, each finished with watercolour hues, drips and splodges, others have the hallmarks of those classic political caricatures found in famous international newspapers and journals for centuries. You know, the ones that take familiar forms and figures but toy with them just enough to make a clever commentary or subtle joke. Whether it’s a beautiful moth that turns out to be made up of hundreds of tiny skeletons and ghoulish creatures, or a King Kong-like figure ascending Big Ben, drawn in a way that references Dali’s dripping clocks, Berner’s illustrative images definitely reward close inspection. The great news is, you can get up really close to the artist’s next limited edition, as he’s producing it at this month’s Live Edition Printing evening at the gallery, run in collaboration with The Private Press. Join us at artrepublic Brighton, as Berner unveils, hand-finishes and signs an edition of just 50 prints, which you can buy there and then. As usual, the after-work creative session will also feature drinks at the gallery and a chance to meet the artist and have a chat about his work.   For more news stories and events visit our Brighton Gallery page $test =
  • Tree Flowers And Shadows: Bruce McLean’s current exhibition at artrepublic

    Discover the abstract work of one of British Conceptualism’s leading figures at artrepublic Brighton. We’d be lying if we said we didn’t have a bit of a soft spot for rebellious artists at artrepublic, which is why we decided that it’s time for those of you who aren’t already familiar....
    Discover the abstract work of one of British Conceptualism’s leading figures at artrepublic Brighton. We’d be lying if we said we didn’t have a bit of a soft spot for rebellious artists at artrepublic, which is why we decided that it’s time for those of you who aren’t already familiar with the work of Bruce McLean to be properly introduced.… with an exhibition of his work at our Brighton gallery this October. Don’t know much about the Glasgow-born artist? Here are the Cliffs Notes. Since upending the status quo of sculpture as a young artist in the Sixties, by using his own body to consider the value and purpose of the plinth and creating sculptural forms from rubbish and impermanent materials, Scottish sculptor Bruce McLean has continued to produce work that challenges some of the art world’s most commonly held beliefs. For instance, the idea that an artist only works in one realm, choosing his tools and mediums from the same checklist created (and used) by those who have gone before. Refusing to buy in to the art world’s long-accepted concept of the Seven Arts, McLean considers everything he produces – film-, photography- or paint-based – to be a form of sculpture. By working across disciplines, travelling back and forth between mediums that include (but are not restricted to) performance art, printmaking, painting, film installations and ceramics, he’s produced a vast body of forward-thinking work that is always evolving and changing. Approaching everything with inquiry, the result is a series of artworks that are packed with energy; organic lines bounce off block colours or solid structures within a given space, like an endless conversation between two figures with different points of view. But maybe we should pause for a moment, before we get as abstract as some of McLean’s creations (which you may have seen in the collections at the Tate, the V&A, or even in our own Brighton gallery – we’re in good company aren’t we?) and return to the point. Our forthcoming Bruce McLean exhibition. Running from 18 October – 12 November, Tree Flowers And Shadows features 40 new and archival pieces by the artist, and covers everything from limited edition prints and ceramics to a film installation. Many of the artist’s new works are influenced by his garden in Spain called Son Caragol which means Snail. ‘The latest prints are directly related to paintings I made 10 years ago,’ says McLean. ‘I’m interested in the dark shadows and how points of light appear as the sun moves around and flickers, I’m attempting to create beautiful, lush, vibrant works as a direct response to this lush, flickering environment.’ Experience McLean’s take on this environment for yourself, and hear more about the artist and his work at the Tree Flowers And Shadows Private View on 18 October, when he’ll be giving a 30-minute talk as well as unveiling the show. Spaces are limited, so please RSVP.     Keep an eye out on the artrepublic Brighton gallery page for our interview with Bruce McLean, as well as details of other upcoming events at artrepublic Brighton. For more news stories and events visit our Brighton Gallery page $test =
  • Starter For Ten: Benjamin Thomas Taylor answers our burning questions

    Ahead of his artrepublic Kids Club session on 17th October, the Bristol-based artist talks painting by numbers and unicorn sounds.   Did you know that Leonardo da Vinci taught his apprentices basic painting theory and techniques by numbering patterns on a canvas and designating a specifi....
    Ahead of his artrepublic Kids Club session on 17th October, the Bristol-based artist talks painting by numbers and unicorn sounds.   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!   For more news stories and events visit our Brighton Gallery page $test =
  • Friction Album Launch at artrepublic

    A not-to-be-missed event for drum & bass fans, catch up with Friction as he launches his new album at our gallery. On 20th September 2018 (6pm to 8pm) the artrepublic gallery in Brighton will host an album launch by Friction. This critically acclaimed drum & bass producer / DJ and Rad....
    A not-to-be-missed event for drum & bass fans, catch up with Friction as he launches his new album at our gallery. On 20th September 2018 (6pm to 8pm) the artrepublic gallery in Brighton will host an album launch by Friction. This critically acclaimed drum & bass producer / DJ and Radio 1 presenter launches ‘Connections’, his highly anticipated latest release.  Register for your FREE guest list tickets today. This project also sees the artist RYCA collaborate with  Friction on a limited edition print inspired by his album cover. Ryan Callanan (AKA RYCA) has a history of being involved in music and represents his love of it through his art from Tupac to the acid smiley faces synonymous with the acid house scene. He has also collaborated with Fatboy Slim in the past. On the night there will be a DJ and limited RYCA prints available from artrepublic at a special price, in addition to the album and t-shirts. Register for FREE guest list tickets For more news stories and events visit our Brighton Gallery page $test =
  • Narrative beats: Bonnie and Clyde shares the stories of her art

    From gritty cities to making art with historical geniuses, there are many layers to the artist known as Bonnie and Clyde. Seamlessly stitching together personal photographs with painted, printed and textural elements, Brighton-based artist Bonnie and Clyde creates surreal dreamscapes that are s....
    From gritty cities to making art with historical geniuses, there are many layers to the artist known as Bonnie and Clyde. Seamlessly stitching together personal photographs with painted, printed and textural elements, Brighton-based artist Bonnie and Clyde creates surreal dreamscapes that are subtly layered with deeper meanings and secret stories. Ahead of her biggest exhibition of originals in Brighton to date, starting 14th September 2018 at the artrepublic gallery, we delve into the artistʼs work to discover the processes and places that inform her meticulously crafted worlds… Starting at the beginning, why did you decide to work under a pseudonym, and why opt for ʻBonnie and Clydeʼ? Well it’s for a number of reasons, and it changes significance on different days. Today’s answer is that when I started out I felt like it was a darkly romantic and ambiguous name, and I was hoping the work could be seen without preconceptions such as gender. I could hide behind the misconception that it was two people making the work as I was a nervy character at that point. You work out of a Brighton studio, but your images evoke warmer climates. Do you feel more of an affinity with foreign landscapes? I do love to see new places and I need an element of spontaneity as I have a lot of stability and routine in my life. I get real wanderlust and need to see things from different perspectives to re-engage with myself. It’s not necessarily about warmer climates – it’s more wherever I get to go on holidays or trips. I loved visiting New York, Tokyo and Iceland as much as LA and Italy. I like to mix the beauty with the grit. It’s kind of building a dreamscape subconsciously so I understand what I want from life.   The photos you use within your work show all sorts of locations, spaces and environments. What kind of places inspire you? I think I like to visit places with a strong life force or culture. Often it’s about the people or environment – their energies excite me. I get freaked out by old distressing places that seem to have been home to misery, but I also find desolate places fascinating; I am drawn to photographing places where there is stagnant energy – I don’t know why. Maybe I’m trying to give the place some energy back in a way, or can feel it in a latent sense. My favourite cities have always been by the sea though; I feel like the sea is a leveller – it’s meditative. I also love the architecture and colours of a place. And food and music play a massive part too. The more time spent looking at your collages, the more we find within them. Have you ever hidden a secret message in your work?   Yes sure, I think there are many hidden meanings for me, but often I don’t recognise them myself for a while. A lot of pieces have an element of love and loss, fear and freedom. There was this amazing chalk rant/ statement on the ground in Venice Beach that began: ‘THIS IS NOT A GOOD MORNING MR PRESIDENT OF THE UNITED STATES. ANOTHER BLACK MAN PUT TO DEATH. 7 OUT 9 WITNESS RECANTED THEIR TESTIMONIES. NO WEAPON, NO BLOOD SPLATTER, NO POWDER RESIDUE FOUND. GEORGIA WEEPS...’ It was so impassioned and moving, and someone from the government was washing it off with a hose. That was the starting point of my piece ‘Recreation’. Off the back of that, with so many layers within your pieces, how and where do you begin? If I need to kick-start a piece, I’ll look through my photo library and pick something that jumps out at me. I often think ‘Oh, I’ll do a piece on Italy’, then I’ll end up with a pic that I’ve wanted to use for ages but from New York or somewhere. That’s it… no turning back; I just follow my feelings and mood and see where it takes me in the first days that I’m working on a piece, until it becomes something. Then it’s a matter of honing it; painting, layering and giving it life until it feels complete. It often feels like there are secret stories and threads woven into and through your images… Yes, I think its all one long thread of discovery. It’s cathartic; maybe once a problem has been solved the story shifts. I had a lot of phobias in my past, and as they are released my work changes too. You use a range of different mediums but, if you had to only work with analogue or digital… I definitely need both please! If pushed for only one though, it would have to be analogue; there’s more warmth and life. It would be a cold hard world with digital only. I often work by trying to make digital feel analogue and vice versa. Your work has a very distinct aesthetic and colour palette. Have you always worked in this way? I think I have various ongoing sections of work that I dip in and out of. They have developed in a timeline since university; I studied 3D design at Kingston Uni with a focus on furniture and lighting, and used to do paintings and collages of all my designs for the course work! When I left uni I moved into graphic design, producing work for arts venues, club nights and festivals. Then, through my partner who was a music and arts journalist, I began photographing numerous musicians and artists for magazines and newspapers, which took me to great locations as well as immersing me in Manchester’s incredible nightlife/ gig culture. After all this, I got the screen-printing bug after seeing a fantastic Warhol/ Basquiat exhibition, and started a clothing design business alongside all the other aspects of design I was working on. When I moved to Brighton I started screen printing myself and then I brought my painting and photography back into the work. It does feel like a journey. I would like to get more involved with food and music – it’s all part of one creative path, all making stuff with your hands. Tell us about the work you’re exhibiting in your show at artrepublic. As well as series of small, light-hearted collages and studies that will be shown together on one wall, I'm releasing two special very limited edition prints. Printed on anodised aluminium, they are architecturally heavy images adapted from a series of small originals I made a couple of years ago. One, titled ‘BBQ Heart’, originated from a merging of buildings that I photographed as I was leaving Las Vegas. I wanted to do something with it for a while; printing it onto aluminium and playing with glitter and glazed elements against pops of colour excited me. The other piece was adapted from a few photos taken in Mexico. The colour is the main player here too. Both are quite romantic pieces. You’ll also see a recent, joyous print release called ‘The Soundscape’, which has a summery vibe. It features elements from a friend’s life, including architectural, musical and performance-based images, which are painted and spliced together with flowers and buildings shot during a trip I took to San Francisco and LA. Finally, as your pseudonym is a dynamic duo, who would be your dream collaboration? So many people, but it needs to be someone who likes to collaborate to start with! I’d say: Faile, for their sense of scale, composition and fun, Andy Warhol and Basquiat for obvious reasons… I’m also a fan of film directors such as Wim Wenders, Darren Aronofsky, Pedro Almodovar and Spike Lee, as I think their creative vision is amazing. What about a night out with The Kills, Jehnny Beth, The xx and my friends? Is that classed as a collaboration? Otherwise, take me to New York’s late 70s and early 80s No Wave scene with The Velvet Underground and Nico – I’d love to make art/ some noise with those geniuses.   Bonnie and Clydeʼs solo show will be at artrepublic Brighton from 14 September 2018.   For more news stories and events visit our Brighton Gallery page $test =
  • A Snail’s Place: catch Brighton’s latest charitable art trail this autumn

    Move over Snowdogs, the SnailSpace trail is taking to the streets of Brighton in aid of the Martlets, proudly sponsored by artrepublic.   You see plenty of interesting things on the streets of Brighton every day, and even more so during Festival season. But few things have captured the co....
    Move over Snowdogs, the SnailSpace trail is taking to the streets of Brighton in aid of the Martlets, proudly sponsored by artrepublic.   You see plenty of interesting things on the streets of Brighton every day, and even more so during Festival season. But few things have captured the community’s attention or spirit recently quite like the Snowdogs that popped up on pavements across town in 2016, drawing visitors from far and wide. After three months, the 44 artist-designed sculptural dogs were auctioned off, raising more than £300k for the Martlets Hospice. But since then we’ve missed the colour they bring to our seaside city, so we were very excited when the latest trail was announced. Yes, that’s right. A new trail based around a troop of snails – aka the SnailSpace trail – will be surfacing by the seaside from 15 September to 18 November, to show off a series of snazzy shells (is that enough alliteration in one sentence for you?). Once again each sculpture has been sponsored by a local business, with their shells designed by one of a troop of charitable artists. Of course, artrepublic Brighton signed up straight away to sponsor a snail, which has been designed by one of our very own artists, Eelus. Taking inspiration from his love of books and the storytellers that fuelled his imagination as a child, Eelus’ snail portrays his own fantastical tale: of a renowned (and feared) French chef Jacques Le Méchant, a cunning cook who has devised a way to infiltrate Snail Kingdom in search of the tastiest snails for his famous restaurant ‘L’Escargot Fantaisie’! Let’s hope his presence doesn’t make it too hard to track down the local delicacies… sorry design pieces.   To find out more about the SnailSpace trail, and how it benefits the Martlets, visit snailspacebrighton.co.uk. We can’t wait to join the snail hunt with you, Eelus and all the other local artists. For more news stories and events visit our Brighton Gallery page   $test =

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