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Ar Brighton Issue no. 1
October 2015
Art and Money ArtPLUS Issue no 1 October 2015 - Page 1
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Fund the arts for a better society Art can help make more fulfilled lives and contented communities
Personal fulfilment
Opinion by Sussex Artbeat publisher, Russell Honeyman
This is personal! I started working as a publisher, and now see myself as an artist, I have embraced the question of art and money. It’s deeply ingrained in me that I would be poor if I was an artist. And I have struggled. I pay my rent with a night job, and I have come to appreciate those who have the money to buy my paintings, a space to hang them - and who see what I do as worth buying.
Brighton Art Fair is about more than money
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righton Art Fair is tangible proof that art is respected and admired by some parts of society – over 5,000 people pay £6 each to participate in this cultural event. Some are creators come to see what’s selling, some are collectors who want to buy, and some simply want to see new art and engage with the artists who make it. But this happy scene is all too rare in our modern, overcrowded world.
Art and money
Our material world
Our world is creaking under the burden of human growth – more people need more things, and we are fighting for our share with increasing bitterness. We need to find alternatives to this model of constant growth, which finds us desiring more air plane travel, bigger cars and wider televisions, yet failing to find happiness. In our spare time we turn off our minds with television, alcohol and drugs. This obsession with material and sensual satisfaction comes to fill a deep need in us, which forms as we become disconnected with our spiritual selves, the earth and the greater good.
Art makes people happy
The arts offer huge benefits to people – as audience or artist, or somewhere in between. Dance, face-painting, writing can all soothe, comfort and entertain us. A city like Brighton makes certain to promote the arts, since creative pursuits are happy and healthy pursuits. Art offers huge benefits to society, giving people something else to desire rather than material things. Aspiring to enjoy art can be free – it’s free to sing, write and dance. We don’t need travel. It strengthens our sense of community.
State funded art helps strengthen communities
In the 1930’s depression, the US government funded artists and writers. The cold war was won, and communism defeated, not by bullets and bombs, but by culture - Levi Jeans and Coca Cola, and by Freedom of Expression – that is to say by Art – as in music, dance, writing and painting and more. Throughout history, art has been funded by states who wish to strengthen their sense of community. The statue of David is a masterpiece of Renaissance sculpture created between 1501 and 1504, by Michelangelo. It is a 5 metre (17 ft) marble statue of a standing male nude. The statue represents the Biblical hero David, who saved his people by slaying the giant Goliath. The statue symbolised the defence of civil liberties in the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the hegemony of the Medici family.
Money is a tool. Capitalism is a sophisticated social machine. It does not feel for humanity. Nominally we are in control but it operates by its own financial logic, which is that a profit must always be made, and capital growth must continue. It is up to us humans to make capitalism work for a better society. And that means using the power of capitalism to build a better society. I believe that artists have a crucial role to play in this process. Money needs to work with art, because money without art is a machine without a soul, without history or culture. Art needs to work with money. On the community level, artists need patrons. One a national level, art needs sponsorship. Participate: make a sketch in a new sketchbook – start a journal – join your local painting club, - visit an art gallery opening and talk to a stranger – talk about the art and yourself. Encourage government to fund the arts, to fund artists, to see artistic output as worthy of income, to stop telling the young that there is no future in art. A future without art is a future without a soul. ArtPLUS is a joint project of SussexArtbeat.com & ArtinBrighton.co.uk. Publishers: Russell Honeyman, Chris Spring. Listings editor: Marta Ptaszkiewicz. www.artplusbrighton.wordpress.com. email artplusbrighton@gmail.com
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Conversation with Corridor Gallery Christopher Spring popped into the brand new Corridor Gallery, brain child of the cooperative Diversis Artibus. He talked with the creators of the gallery: Barnaby Simpson, Emma Clear, Lucy Kenward and Aaron Howdle.
Chris Spring: Tell us about Corridor Gallery? Emma Clear: Corridor Gallery started a month ago, but Diversis Artibus which is the artist cooperative behind the gallery started about 2 years ago, to try and get diverse artists together to exhibit together, support each other and their work to create a bit of that community we all felt when in education. So how did it get from purely discussion to become a gallery? Barnaby Simpson: The idea was always to take it to a gallery. Lucy Kenward: The lack of availability and affordable spaces was something we always felt was an issue almost from day one. Brighton has lots of galleries, no one is denying that, but a lot of those spaces have rent to make. So they either charge a high commission or high hanging rate, or they are not so focused on whats happening locally but interested in supporting those who make in the UK. What we saw were lots of people that we knew were really talented were having to go to London or Bristol to display or sell their works and this is something we all felt really passionately about from day one. Emma Clear: We wanted to create a space that was more of an installation space as well. It didn’t really matter what type of work it is, the aim was to create a space solely for that artist to show how they work, and there isn’t huge amounts of space in Brighton where that is available. There is a lot of space that is sellable space, but not space that is designed to be ‘showable’ space. What is the cost to show in your space? How do you guys sustain the space? Barnaby: We have the gift shop side of the gallery which is all local artists’ work which helps to fund the space. And any sales from the exhibitions there is a commission which varies according to if you’re an exhibitor, or a stockist or if you join the actual cooperative itself, to which you pay a yearly subscription. You then can become more involved in the decision making, and the ideas. We want to create a community where people come together and do stuff together. Lucy: On a practical level, the whole idea behind this is that it’s not-for-profit. The commission and/or the membership fees just go towards paying the rent and keeping the place open. Everybody involved who runs the space, does so on a volunteer basis, getting the space, the props and everything you see has, so far, been self-funded because we believe in it and we want to make the idea happen. If you want to makesomething happen, you get on with it. As we are a cooperative, it makes everything harder in terms of dealing with banks, estate agents, even just register-
ing as a co-operative is quite difficult there are many more hoops to jump through, which it’s taken two years to get to this point. We carried on going because we believe in it, and that’s the way we wanted to operate, and that’s the way it was fair, sustainable, transparent, Barnaby: And democratic. Before Corridor Gallery, were there any other places in Brighton where you showed as a collective? Barnaby: We were all involved in the Knowledge Gallery at various different points, which was supposed to be a popup but lasted quite a long time.
Everything is playful, beautiful and fun! When does the exhibition run until? Aaron: The exhibition is on already and runs until the 4th of October but the private view is this Friday [18th September] from 8pm. And we have Downlands Brewery who I’ve worked with in the past doing some of their illustrations, who are going to give us some beer. Finally, What is your favourite thing about the visual arts in Brighton? Aaron: The connectivity. By that I mean the connections you make quite easily as Brighton isn’t very big, but it has more clout than its size. Most people are con-
Lucy: And we’ve also done lots of trading at local crafts market to try and build up the pennies so we had a small pot of resources to help pay for things when we got to the pop-up stage and with this project. But we continue to trade at markets as well just to diversify and really spread the word about the people involved and hopefully take on some new people too. You’ve got a great space here, tell us about the exhibition on at the moment. Barnaby: Currently we have an exhibition by the very talented “Petting Zoo”, who is a very enigmatic fellow and doesn’t really like people to know who he is. He is an excellent print-maker who, I think, just has one of the most fantastically talented… erm… sorry! Trying to find the words… Aaron Howdle: Playful? Barnaby: His combinations of colours are just fantastic and he makes a lot for bands, whether it be local or national bands, making one-off prints for their gigs to be sold in merchandise stalls. He has made a small range of prints specifically for this exhibition which is all based on sins. There are 6 prints, but each one is based on one of the 7 deadly sins. Lucy: Following on from that, is the idea that things distract. That’s where the starting point was for him. His own personal stumbling blocks as a maker and as a creative, the delicious distractions that Brighton has to offer and things that kind of prevent him from creating. It’s work from a career that’s gone skee-wiff, a mess of wonderful curiosity.
nected to London with what they do. You can do great stuff here but without being as lost as you can feel in London. Emma Clear: What I like the most is how many creative people are actually here, and how incredibly talented they are. Maybe because they are at the beginning of their career, people are just trying things out. Literally every corner I turn people are doing something else creative, and when I hear it, see it, or go to an exhibition, I’m blown away and I love that. Barnaby: It’s been known for a long time that Brighton is a creative hub but we feel that maybe it’s not supported enough, which is why we’ve done this, just to get another space for the arts to be seen! Which, it often isn’t as people try and do things online or behind closed doors and actually we need more opportunity for people to physically interact with the work. And, as artists ourselves we are trying to have a go at living off our work and create a bit of a community to connect with everybody else, as other galleries have tried to do. Lucy: I love Brighton’s independence. The fact that everybody seems to follow the beat of their own drum. People don’t seem to be as influenced by fashionable things, they have a vision and just get on with it. Especially, coming from London before this which is almost the exact opposite, I find the attitude refreshing and inspiring. facebook.com/corridorgallerybrighton ArtPLUS Issue no 1 October 2015 - Page 3
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Call Centre Creatives’ Inner Visions
Paintings by Sarah Walpole (below) - Stuart Hermolle (above)
“Nine Exhibition” is an intriguing show that reveals the inner world of nine parttime artists whose shared experience is their work at a trendy call centre in Brighton. Russell Honeyman went to the opening at Naked Eye Gallery on Friday night 18 September 2015, and wrote this review.
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he works in this show are diverse, ranging from sculptures made of birds wings, to photo-realistic painting, to Buddha-head mandalas, to dark works inspired by psychedelic graphic novels from the 1970’s. There are confident paintings from experienced artists alongside early explorations of technique or medium. From the start, I was intrigued by references to art movements and spiritual paths – and a sense of underlying purpose. I chatted with the artists, and to my delighted surprise I found out they all work at Pure, Brighton’s trendiest call centre. Pure makes a big thing of being an ethical fund-raiser, and attracts staff who are
spiritual, creative, or otherwise lovely. I stopped and peered at a finely worked piece, an intriguing flowing composition painted in acrylic with fine black hatching over the surface – a wasteland with a struggling humanoid form pinioned to sharp rusty metal. I asked the artist, Stuart Hermolle, about his work. His inspirations include psychedelic comics from the 1970’s, and the industrial landscapes of his forefathers.. Stuart said this is the second group show by workers at Pure. Pure encourages creativity amongst its employees – they sketch each other at work. Their first group show was at Jilted Dog gallery a few months ago.
I asked Stuart if he thought there was a theme to the show. “I can’t speak for everyone but I imagine if there is any kind of thread drawing this group of artists together, it’s that we’re interested in exploring our own visions or our own imaginations about the inward, exploring internally, I don’t think any of us are interested in making comments on society or the art world.” By the time I got halfway round the show my feelings had gone from trepidation to enjoyment. It was a touching, real experience to be given this insight into the worlds of non professional artists, people who work but take their spare time to create – people who have managed to get beyond the gagging of society’s expectations that they be mute. So what are these inner visions? Oleg Baikoff showed images of Buddha in Bali, painted in Fauvist style – and a more poignant Buddha seated by the side of a drowned world war two warplane. Tom Diamantopoulo offered angry, sharp –beaked, bound creatures, and the pathos of a heart envisaged as a home. Tom was, before he worked for Pure, a successful musician, and gave up art school for his band. Catherine Parsons’ work contains shamanic overtones in an arrangement of disembodied owls wings, surely reveal a desire to fly, to be free. Sarah Walpole showed figurative, painterly works on found timber with a fine sense of colour and tone and a variety of moods from the lyrical “Climbing Hills, Chasing Dreams” to the sombre “I cried and I didn’t move you”. Victoria Gould contributed bitter-sweet pop art paintings, cameos of ordinary life, narrated by voice bubbles. Victoria is a successful artist who has has sold at the Royal Academy, a reminder that the distinction between ‘amateur’ and ‘professional’ artist is a very blurry one indeed. Luke Heath showed visceral visions of organic forms entwined with hard, dark matter – inspired, he says by HR Giger. Polly Skeet’s delicate drawings touch on spiritual themes from the plains bison to the mandalas. Robert Rinn provided an image of cars flying above the city. An amateur psychologist would look at these inner visions, and say they are the shadows of the happy exteriors of the artists, or hardened call centre operators, depending. This honesty and insight into real people coping with the contradictions in modern society, expressing themselves in art, makes the show worth going to see. Brightonians will identify with the message, because we’re all so fluffy, creative, ethical and spiritual. Aren’t we? Well, at least we’re on the journey. The Data Artists: Polly Skeet, Oleg Baikoff, Luke Heath, Stuart Hermolle, Robert Rinn, Catherine Parsons, Tom Diamantopoulo, Sarah Walpole, Victoria Gould. Nine Exhibition – 16-30 September, Naked Eye Gallery, Farm Mews, Farm Road, Hove. www.nakedeyegallery.com
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Lady Aiko ‘Edo City Girl’ Show extended to 4 October
Known for her work with Banksy, Takashi Murakami and FAILE, Lady Aiko is now a solo artist in her own right with a distinctive style mixing American contemporary art movements such as Abstractionism, POP Art, Graffiti and Street Art with the Japanese traditional aesthetic in which she was originally trained. By Chris Spring 22 Sept 2015 The clamour surrounding Lady Aiko’s residency in Brighton and the exhibition is such that even I, in my slight cynicism, couldn’t help but getting wrapped up in it, but it was always going to struggle to live up to the hype. Lady Aiko is the latest in a trend to transfer street art into a gallery environment a trend that, no matter your opinion, is not likely to stop soon. Aiko uses a classic spray paint and stencil technique reminiscent of her friend and collaborator, Banksy, but she draws inspiration from her home - Japan. Aiko moved to New York in the mid 90’s but the Japanese influence has remained. Immaculate stencil work is supplemented with clever and intricate backgrounds created with acrylic paints. This contrast of materials is reflected in the content, an obsession with traditional and modern Japanese culture. Take “Big Fun”, for example (pictured above). Lady Aiko hand-painted a delicate traditional Japanese landscape on a fan, using acrylic paints before smashing the serenity by invading the image with brash stencil work. The simplicity and directness of the imagery over the top is perfect, and is explicit without being too graphic. The whole process betrays the almost violent nature of her street art/graffiti roots, whilst displaying her understanding of the piece and what it’s trying to say. Her work is saturated with feminine imagery, a lot based on the female orgasm. Whether tongue-in-cheek or something more explicit, the pieces are evocative and brilliantly expressive. “I’m Coming!” in particular, doesn’t need huge amounts of detail but is undoubtedly this moment of ecstasy captured before our eyes, complemented with the surrounding colours and imagery. More of a celebration of sex than anything smutty. With the transfer of street art and graffiti from ‘where it belongs’ in the street into the rarefied atmosphere of a gallery, a lot of the techniques can look out of touch and sometimes unnecessary. The whole point of creating a piece of work in the street is it’s transiency and simplicity, you know that anything you put out there can be painted over and you can be arrested for doing it. Creating work for a gallery takes a different kind of skill and patience, and an understanding that your piece will have to exist in different environments. The private view night showed this slight awkwardness, but as with all art forms in a transition there will be experiments and failed experiments. Lady Aiko was creating “one off” prints for people by spray painting flowers onto digital prints that were 99% completed. Here, there was a slight tension as it had a feel of a factory floor. Despite seeing a piece being created by an artist before your eyes, it seemed to cheapen the artwork itself and put me off slightly, because she made it look too easy. However, the exhibition has been a resounding success for Ink_d and has been extended by popular demand for another two weeks. It lived up to it’s hype, so make sure you catch it before the 4th October.
Pop-up Brighton By Chris Spring I first became aware of Pop Up Brighton about a year ago, when helping them out with the 2014 Summer Exhibition at Circus Street. Any group who has the energy, ambition and time to get together 4 different collectives (that I counted) plus organise an ice cream van, a light show at the private view and a brilliant community inspired dinner party on Saturday night, will automatically impress. When you find out that Pop Up Brighton is organised by one man, and doesn’t charge any of the artists for his time or space, it made me fall in love with the idea. Started by Ashleigh Ward in 2011, Pop Up Brighton aims to give artists great spaces and opportunities to show their work without charging an entry fee. With a distinctly “pop up” and individual feel to each of the exhibitions and initiatives, you will usually find a Pop Up Brighton initiative taking place somewhere around town. Starting with the most ever-present – “It Is What It Is” is a shop hosted by Pop Up Brighton that has hosted various different groups throughout 2015. The twist is that they only have one week to explore what they do, and gives the group hosting the space for that week relatively free rein to run the space. This means that from week to week you could have anything from illustrators and artists, to human rights activists, all the way through to a pop up record shop. These cross-arts initiatives seems to be a Pop Up Brighton trademark, giving the artists space to breathe and explore whichever ideas they want. This is reflected in their contribution to Brighton Digital Festival. BYOB or Bring Your Own Beamer was an exhibition started in 2012 as their contribution to the Brighton Digital Festival, inviting artists to bring their own projector and show their films. Hosted by Ashleigh and very much put together on the day, the curatorial challenge in putting together films not in context with each other must have been great. It paid off and proved to be a huge success, showing in the Brighton Dome Concert Hall in 2013, and finally in the Corn Exchange in 2014 and 2015. These are just two of the more prominent examples, but generally they will do lots and lots of little Pop Ups at significant events throughout the year (follow them on their various social media outlets for full details). The consistency and inventiveness of Ashleigh’s events make Pop Up Brighton one of the most important artistically-based Brighton start-ups, allowing artists to be artists and experiment without fear of high cost spaces elsewhere. http://www.popupbrighton.com/
Caroline Lucas posing with the creator of Pop-Up Brighton, Ashleigh Ward, and some artists from the Summer show 2014. ArtPLUS Issue no 1 October 2015 - Page 5
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LISTINGS SEPTEMBER 2015 - art on show in Brighton and Hove Views of Brighton & Hove in the early 19th century
9 Jun – 11 Oct 2015 Brighton Museum A unique opportunity to view a series of topographical prints and drawings held in the private collection of Henry Smith and the Royal Pavilion & Museums’ own collection.
BLACK WHITE LIGHT DARK
5 Sep – 5 Oct 2015 Cameron Contemporary Art ARTISTS: Faye Anderson, Solange Leon de Iriarte, Harriet Porter.
DUM-DUM STRATAGEM
Works by Petting Zoo Prints & Collectables 5 Sep – 4 Oct 2015 Corridor Gallery, Brighton Created quite quickly in response to the launch of a new Brighton gallery, this exhibition is largely but not exclusively a retrospective of the Petting Zoo’s output since 2008.
Lady Aiko – Edo City Girl
11 Sep – 4 Oct 2015 Ink_d, Brighton For their next show ink_d presents none other than Lady Aiko. Lady Aiko is well known for her work with Banksy, Takashi Murakami and FAILE.
American Stories – Mark Nelson
12 Sep – 10 Oct 2015 35 North, Brighton It is a great pleasure to welcome photographer Mark Nelson to 35 North Contemporary Fine Art.
NINE EXHIBITION
16-30 Sep 2015 Naked Eye Gallery, Hove “Nine Exhibition” is an intriguing show that reveals the inner world of nine part-time artists whose shared experience is their work. A chance to experience a multitude of artistic styles and mediums in one exhibition.
BRIGHTON ART FAIR 2015
25-27 Sep 2015 Brighton Dome, Corn Exchange Now in its twelfth year, Brighton Art Fair is a premium selling event with 100 of the best contemporary artists from the UK and abroad, showing and selling their diverse work.
FutureCoast Brighton
26 Sep – 6 Dec 2015 ONCA, Brighton What will the future of climate change feel and sound like? How will people live, and how will they be affected by a climatically changed world?
Bite-size Museum: The Amazing Art of Asian Puppetry
29 Sep 2015 Brighton Museum Learn more about Indonesian shadow and Vietnamese water puppets and what they can reveal about these cultures. With World Art Curator Rachel Heminway-Hurst.
USING TALENTS TO ENABLE TALENTS
Judith Mahatane and Frank Sargeant 28 Sep – 3 Oct 2015 Gallery 40, Brighton Like many Botanical Artists today, Judith Mahatane had no formal art training and only started painting after retirement from her career in social work. Frank Sargeant is a retired bishop, having been Bishop of Stockport and Bishop at Lambeth. He has painted in his spare time since his school days.
Phoenix Gallery to reopen in 2016
Ground Floor Refurbishment The gallery will be closed to the public for the next several months as we prepare and undertake refurbishment work on the gallery and front entrance to the building.
LISTINGS SEPTEMBER 2015 - art at Brighton Digital Festival September 2015
Brighton and Hove Brighton Digital Festival is a celebration of digital culture that takes place across Brighton and Hove every September. 2015 marks the fifth consecutive year for the Festival. The following are listings of Art events only - see the website for full listings and ticket prices - many are free. brightondigitalfestival.co.uk
Brighton Inspired
As part of the Brighton Digital Festival 2015, New Writing South in collaboration with Brighton Brighton Tue Sep 1 - Thu Oct 1
Story Hack
The Old Market are bringing together professional storytellers from different creative industries. The Old Market, Hove. Tue Sep 1 - Thu Oct 1
NIC Sandiland: Digital Festival Workshop
The course will embrace video projection in live performance and sound interactivity. Tue Sep 1 - Thu Oct 1
Remix The Museum
Mr Booth’s Natural Science collection comes to Brighton Museum in a way never seen before! Brighton Museum & Gallery Tue Sep 8 - Thu Oct 1
Nic Sandiland – Weighting
Mood Vendor
The Pans People Papers
APEC Open Studios
Weighting attempts to realise what is on the surface a literal impossibility. Emporium, Brighton Sun Sep 20 - Mon Sep 28 Transposing the work of Flick Colby and the 1970s dance group Pan’s People. Online Mon Sep 21 - Sat Sep 26
The Waiting Wall
The Waiting Wall is a digital version of Jerusalem’s Wailing Wall. Brighton Train Station Mon Sep 21 – Sat 26 Sep
Croaking Drain, Hidden Frog
An Amphibian Thriller: The Frog Forensics Lab Croaks have been recorded, eDNA collected, the evidence is mounting. Onca Gallery Tue Sep 1 - Sun Sep 27
People Place Digital Mutations Exhibition at Jubilee Library Exploring Senses and BlockBuilders collaboration. Jubilee Library Tue Sep 1 - Wed Sep 30
Tygernetic is pleased to announce the new Contentment Adjustment Terminal. 16 Brighton Square Brighton, BN1 1HD Wed Sep 23 - Tue Sep 29 APEC will be opening our studio doors to the public for the Brighton Digital Festival APEC studios Fri Sep 25 - Mon Sep 28
Digiskull
The artists of WLTM/ake present a digital art exhibition at the Booth Museum. Booth Museum of Natural History Fri Sep 25 - Thu Oct 1
No Place Like Home
Digi-Fears Part II: Help!
Evil Digital Forces Are Trying To Control My Messy Body! Artists Lorenza Ippolito, CiCi Blumstein & guests explore gaming, binary thinking, the digitization of nature. Onca Gallery Sat Sep 26
Loop.Coop Present: Magnubbin
Create spiky cardboard robocritters, and see them come alive in a 3D online world. Patterns Sun Sep 27 - Mon Sep 28
Monthly Milk
CULT MILK curate a special interactive digital event Patterns Sun Sep 27 - Mon Sep 28
A free one-day workshop explore your childhood home with artists Amy Zamarripa Solis, Aikaterini Gegisian, Larry Achiapong and David Blandy. Brighton Dome Founders Room Fri Sep 25 - Sat Sep 26
B-Movie: Lust & Sound in West-Berlin
ROAD is an immersive non-linear 4k screen work for public spaces inspired by a road-trip. West St underpass Fri Sep 25
An evening of talks about comics in print, on-screen and everything in between. Sussex Humanities Lab Tue Sep 29
ROAD
Sensacional
Drugs, Squats and the Birth of Techno! Music, art and chaos in the wild West-Berlin. Duke of York’s Picturehouse Sun Sep 27
Paper Versus Pixels
Bring your toddler along to a sound and light show. The Old Market, Hove Sat Sep 26 - Mon Sep 28
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LISTINGS OCTOBER 2015 - art on show in Brighton and Hove Brighton and Hove
Photography: Geronimo’s Candlelight – Stuart Michaels
1-15 Oct 2015 Naked Eye Gallery A few minutes after sundown in California, when all the tourists have deserted the viewpoints, a rather beautiful thing happens.
Pattern, Shape, Fluidity, Versions
Solo Show by Hattie Stewart 2 October at 18:00–21:00 114 Church Street, BN1 1UD Brighton, United Kingdom Following the huge success of ‘Hello Cheeky’, Hattie’s debut solo show with us last year,her new show sees a series of new illustrations, playing with multiple themes found within Hattie’s work. info@nowallsgallery.com
AROE Plus Special Guest MEROS GOLDEN
2-15 Oct 2015 Dynamite Gallery Dynamite Gallery is excited to announce their second exhibition since re-opening just four months ago. World famous graffiti artist AROE will be exhibiting brand new work at the show. Alongside Aroe will be Meros Golden, an artist whose style mixes graffiti and photorealism, creating work thats unique, fresh and powerful.
Arts Festival: The Lantern Fayre 2-4 Oct 2015 The Level, Brighton As summer turns to autumn and the leaves begin to fall, Brighton once more sees the return of the Lantern Fayre; a 3-day community arts festival on the Level.
Pierdom
3 Oct 2015 – 21 Feb 2016 ** Brighton Museum Photographs of Britain’s piers by Simon Roberts Can anything sum up British national identity more powerfully than the pleasure pier?
Top Secret Art Project
6-15 Oct 2015 Unitarian Church, Brighton and online Martlets Hospice Art Exhibition and Online Auction - your chance to acquire a fabulous piece of original art and support Martlets Hospice.
Bite-size Museum: The Perfect Blue?
6 Oct 2015 Brighton Museum Join a member of the Royal Pavilion & Museums conser-
vation team and discover the unique qualities and uses of the beautiful pigment Prussian Blue. With Stig Evans, Paintings Conservator.
Cream 15 – photographic graduate talent 9-30 Oct 2015 University of Brighton Gallery After a hiatus of 2 years, Crane Kalman Brighton Gallery is pleased to return to Brighton audiences with Cream 15.
Towner, Eastbourne Chalk Gallery at the Towner
2-14 Oct 2015 Towner, Eastbourne Chalk Gallery is celebrating its 10th anniversary with a special exhibition of paintings, prints, jewellery, ceramics, sculptures and wood carvings by past and present members, at the Towner Gallery.
Julian Germain – The Future is Ours, Classroom Portraits 2004-2015
10 Oct 2015 – 10 Jan 2016 Towner, Eastbourne Towner is delighted to present the UK Premiere of British photographer and artist Julian Germain’s exhibition, The Future is Ours.
Claire Beattie solo exhibition
10 Oct – 16 Nov 2015 Cameron Contemporary Art In her much anticipated 2nd Solo Exhibition at CCA, Claire’s work goes from strength to strength.
Back To The Hand
Nik Draycott and Timothy Elisha-Lambert 10-24 Oct 2015 Gallery 40, 40 Gloucester Road, BN1 4AQ Brighton
Phoenix’s Art Junky at the Open Market
24 Oct, 28 Nov 2015 The Open Market, Brighton Art Junky is the indoor market that combines our love for quirky jumble sale culture with local artistic talent!
Aimie Herbert
26 Oct – 1 Nov 2015 Gallery 40, Brighton Aimie Herbert at Gallery 40.
Museums at Night
30–31 Oct 2015 Brighton and Hove Museums at Night, the UK’s festival of after-hours events at museums and galleries, next explodes into life on Friday 30 and Saturday 31 October 2015.
Lewes PAINT 5
3-18 Oct 2015 Hop Gallery, Lewes Five well known Sussex artists meet again with a dazzling show of new work in oil, collage, acrylic and watercolour. Sue Barnes, Sheila Marlborough, Kate Penoyre, Angela Perrin and Lesley Robertshaw.
Contemporary Art Exhibition
24 Oct – 8 Nov 2015 Hop Gallery, Lewes The Hop Gallery Contemporary Art Exhibition returns with renewed vigor with an intriguing and eclectic collection of beautiful paintings, original prints, sculptures, photography and jewellery.
BLACK WHITE LIGHT DARK 5 Sep – 5 Oct 2015 Cameron Contemporary Art, Hove
Works of depth, richness and variety created within an essentially monochromatic palette, by Faye Anderson, Solange Leon de Iriarte, and Harriet Porter. Trained in Aberdeen and Edinburgh, Faye Anderson is the winner of several prestigious awards. Using ancient techniques and miniaturists’ brushes, she specialises in painting detailed and beautifully realised paintings of animals. Originally from Chile and trained as an architect, Solange’s passionate works are created on the spot and in all weathers. Her works are immediately recognisable and are in many private collections. Strong emphasis is given to Harriet’s simple elegant composition and the subtle gradations of colour and temperature. Concentrating on the play of light, shadow, focus and line, these paintings are at once arresting and utterly absorbing. Harriet studied at Central Saint Martins. cameroncontemporaryart.com
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When you hear ‘Street Art’, what do you see? It’s been a long time since we dismissed street art as vandalism. Now, the phrase “Street Art” conjures up images of spray painted tags and Banksy’s stencilled subversive graphics. But street art has become more diverse than that, as the streets of Brighton show. Yes, we have Banksy’s kissing policemen, and a residency by the renowned Lady Aiko, but many of our artists are reinventing street art. We have the graphic work of Sinna One, Snub 23 and Etienne Le Comte (aka. StinkLikeDog) adorning buildings around
the city. Photographic musings from Petrusco’s Eye – who creates galleries in the street to challenge our preconceptions and the establishment. Aroe’s style is focused on the graf side of things. Prolific in his execution, lettering and tagging is his game with a rejection of the establishment’s attempts to tell him where to paint, eventually leading to his acceptance into MSK – one of the best-known graffiti crews in the world. Alongside this Mazcan uses her touch to ‘yarn-bomb’ the city’s trees and more, encouraging celebration and conserva-
tion of our urban environment. Req uses his spray cans in a painterly fashion to create atmospheric portraits that make us stop and think. These artists do all this for free, because they want to reach out to their community, and because they want our streets to be a better place. Street art and graffiti, properly channelled, provide an outlet, a form of expression for everyone, and help strengthen our community. Only when it’s repressed does it become vandalism.
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