The Creative Times Edition 2
So, AU. What’s your styles?
AU
At the moment, I’ve got at least 2 styles of street art poetry going on. One style is haiku, 17 syllable poems. With AU being central or initiating the theme… Another is an unending mother of all poems, working title, AUniverse, which I’m stencilling in instalments around London. It’s a great contrast; the haiku are one off, and complete in themselves. AUniverse never ends, it just keeps expanding… That’s quite a sophisticated role you got going on…. Don’t you ever just do tagging? Sometimes, but not in the usual sense. I paint things Gold as my tag. It’s alchemy, the simple process of turning the base into something… Precious. I love your precious art. What does AU mean? AU! was shouted at me once. That’s when the name came to me. The Universe called out when I was painting in the streets…AU! I love the way it works. AU is the Chemical symbol for Gold Hence the Gold ‘tags’. Nice. Really nice. And Gold is Gratitude Oneness Love Devotion I enjoy wordplay, you know, the meanings within meanings, something seemingly simple can reveal great knowledge when opened and explored. Like our minds, for instance. Right On I will. And if you Google AU you’ll see AU is also an Astronomical Unit. I did this one for you Jean. Thanks Bro.
What’s that? The distance from the Earth to the Sun. It’s called 1 AU. Fabulous isn’t t? Wisdom erupts into our consciousness. It hurts, because it doesn’t yet fit. Changes need to be made. G.O.L.D filling. Finally, relief from suffering. I had an impacted wisdom tooth that week. What a bastard.
If you leave your iron unlocked in Shoreditch then it’s gone. Unless AU finds it. In which case it’s Gold. Signed on the reflector.
I like this one. All London bike owners know that when you park your push, it’s always a real surprise to come back and find it still there. Wheels and all. Imagine the joy of coming back and finding it painted Gold. Wheels and all. I found this one unlocked, so I took it, painted it, and returned it. I saw it a few months later, when I took this photo. I’m going to do your car one day.
I like that. It’s Magic. Real Art. Shamanism. Ever been part of a crew? I’ve recently started doing a few bits and pieces with DICY, he’s got some really visionary concepts going on, very creative, an inventor. And a Heart of pure AU. Did he tell you about the All True Ism? I’m straight in with that man, that’s the most real art I’ve heard of you know. You part of the movement? Totally. Give us a final haiku. There’s never a final one. But here…
AU. Here is your Gold. Ticket.
The Creative Times Like a Glimpse of God I Sense Truth Within The Word
That’s deep. Do people collect? Your art? Your poems? Yeah, they mine ‘em. That’s cool.
The streets are paved with it.
AU koan and cycle. TEK13 self a sprayer?
Hello my precious. Now on the back of a TEK girl. Good buy my sweet art.
AU MINE: One off Haiku ÂŁ170 signed in 24K. AU Thentic GOLD tag objects: variable prices on request. AU AllTrueIsm 100% Prophet used to generate Gratitude Oneness Love and Devotion to the cause of creating more. @thecreativetimes.co.uk AU
Olarn Chiaravanont
Deep In Penetration (2008) Acrylic on canvas 100cm x 80cm
Enough of life in the Deep (2008) Acrylic, soft pastels on canvas 95cm x 75cm
Yellow River and Wall (2008) Acrylic on paper 50cm x 40cm
Deep In The Far East (2008) Acrylic, soft pastels on canvas 95cm x 75cm
Mob: +44 7771 884 855 www.olarn.net funkytoothy@gmail.com
Olarn's paintings are populated by cube-headed, soft-edged, mutable characters. They are often caught in snapshots somewhere between domestic, everyday-life; a more violent, neon-lit nocturnal; and the transcendental. Through deceptive, contradictory surfaces - lightly devious, and rich in process - Chiaravanont's paintings humorously address our relationship to technology, landscape, and translation - all filtered through a world of mini-violence & Inner thoughts. (Words from " A Long Way From Dry Land� by Harry Blackett).
Urban Art In Profile Name
PWK
Sex
Male
Age
Today's the day you know. 23.
Education
Moorlands YOI / Doncaster
Habitat
Street / Urban / At liberty
Styles
Painting With Knives
PWK says: Having been into knife crime, and all that, it was doing graf that got me going straight more than anything. I did some time inside, Moorlands YOI as a young offender, then Doncaster. Being inside teaches you. What it teaches you depends on what you want to learn. Remand teaches you hate, anger, resentment. It sends you over because your life is out of control and you don’t know what’s going to happen next. Remand is the hardest of times. One thing that I used to do was carve. Prisoners are allowed razor blades, so you can shave, and of course, you can make knives, melting the blade into a toothbrush usually. Here’s something you didn’t know. Inside, everyone splits matches. You get you box of safety matches, and you split each match into 2, or 3, or maybe 4 if you’re careful. Seriously. Everyone does it. Jail makes you understand what it means to have nothing. To make the most of what you got. One match becomes 4. There’s no waste, cept of time. And youth. Well I started cutting shapes from magazines, yeah, porn mags sometimes, and discovered how to make stencils. I made loads, did some really nice ones, really careful you know. I painted through them with ink from a biro, diluted. I did a few in my own blood, when I cut myself. It felt really strong when I did that, like it was voodoo or something. People cut themselves inside. They do it to try to get out, of the prison, but also out of themselves, the head space. I learned to paint with knives. It’s still a bit of a dodge, I’m wary about even carrying an Xacto blade on the streets now days, so I cut my stencils at home, and mostly I spray at night. The streets are full of life, full of drama, full of opportunity and danger and excitement. I’m glad I can still be part of that. I’m glad you let me be in your magazine. I’m used to being cut out of good things. If I could talk to young gangstas and crews I’d say learn marshal arts, and use your knives to paint the streets in your story, you know. No need to stab a brother, you only stabbing your own mother and family in the heart when you do that. Use your knife like you use your head. Sharp, intelligent, to make the right moves. Painting With Knives, it’s a way out for the darkman. It’s the future. Enquiries to: editor@thecreativetimes.co.uk
Katie Elder
I have had a very musical and creative upbringing. Being exposed to opera and classical music has had a huge influence over my imagination, and has been a driving force in the development of my creativity. My explorations of the figure and anatomy have been inspired by the Italian Renaissance- its passion for life, beauty and the body.
I mainly work with charcoal and acrylic paint. I use the charcoal in a fast, energetic way, creating a raw, bold feel. I find the single line is very expressive and prefer to use line to impose tone and depth to a drawing rather than other shading techniques. Simplicity can be more effective with the subjects I choose to engage with. My method is to work and re-work, layering up the charcoal and then the paint. I use paint in a loose wash, and allow it to drip freely, again emphasising line. Up until now, I have been concerned with depicting intimate, personal, everyday moments. I am unafraid to incorporate personal experience into my work. It is important for me to acknowledge my vulnerability. This series of paintings, inspired by Greek mythology, explores the brutal, violence of giving birth. I aim to portray one woman’s experience, losing herself and allowing nature to take its course. She is lost in this life-altering event. She is about to become two. The bestial features are more symbolic. I chose the brutal attributes of each animal, for example, claws, talons, fangs, and hooves to emphasise the untamed, crazed being that women become during labour. I work the paint more heavily over the animalistic parts to emphasise the aggressiveness of them. I allow the paint to run down the whole canvas and bleed into other colours. The dribbling lines could suggest the moment of the waters breaking, or portray sweat, blood, or drool, drenching the figure. With these works, I aim to exaggerate the heroism and endurance women show through giving birth. By incorporating animal body parts to my nude, birthing women, I wish to suggest the wild and manic state which takes over their whole being, with the sole objective of forcing out the baby.
To Give Birth is a Fearsome Thing 2m x 2.7m, acrylic and charcoal on canvas ÂŁ3000 each
katieelder@hotmail.co.uk
Zohra Milian
The eye-lens observes that what normally is unnoticed, focusing the voyeuristic view into the dirty parts, the ugly
corners of the city and its historical layering. The eye that looks at graffiti, rubbish, forgotten objects and falling apart walls or paint, objects that become metaphors for the body. The eye has an archaeological function by discovering the divergent layering of time where old architecture and current technologies or fashions appear together, satellites and TV antennas contrast with the Victorian roof tops and buildings in a historical layering of elements. Through observation of the banal everyday we discover something that goes beyond the real that awakes an alternative vision of reality focusing its gaze on the modest, the forgotten, and the unnoticed. It is a process of imaginative introjections of the actual. Zohramilian@gmail.com
ANNA JANE TANTON My practice is an exploration of emotion and the undiscov-
ered beauty that surrounds us. I invite my audience to
interact with my work and I hope to evoke emotions with every image. I encourage the action of looking deeply,
reading between the lines and hope to achieve the appreciation of raw beauty.
So often rare moments are overlooked and unseen. I have
captured as many as I can to make public and to share. The unseen becomes seen and beauty emerges from the ignored.
These pieces are modestly sized but have an imposing
presence. The photographs are snap shots of natural light,
captured immediately and collected. The images are rarely edited and are preserved as originally as possible.
annajanetanton@yahoo.com www.myspace.com/ajtanton
Top: Capturing Butterflies (detail) 21cm x 29.7cm Digital photograph Bottom: Memory Drop (triptych) 3 x 21cm x 29.7cm Digital photographs, framed
‘After Lives’ is an art novel about one mans fight for freedom and his own destiny, battling angels and demons. The above piece of work is one classical example of all the evil, blood shed and tortures this man experiences in Hell. These images are very busy and a lot is going on all at once, I see Hell as a cramped place there is no where to run, nowhere to breathe and nowhere to hide. All of the works related to ‘After Lives’ has been created from my imagination, so I just draw whatever enters my mind at the precise time. I have also started including celebrity cartoons into the world of ‘After Lives’, this gives it more depth and it shows how sweet, cute little cartoon characters can be manipulated
Nathan
‘Hells Riot’ Mixed media on wood 2m x 2.5m £500
Ronald and Hamburglars Devious Plot Mixed media on wood £250
Myspace.com/after_lives
chemicalart@hotmail.co.uk
Mickey’s Revenge Mixed media on wood £250
Markus Jesus Art
can be generalised into almost everything. But the open mindedness of this causes many problems because it lowers certain barriers that allow us to differ between Art, Graphic and Architecture etc. I can see that there can be less and less craftsmanship in art to the point that a person puts a bed in a gallery and calls it art, or paintings become so abstract that a child can paint them. I feel there is still an area still to explore between extremes.
I’m going to talk about relevant subjects, but do not directly reference my work to what I say. God exists, but belongs to no religion. Religion is merely a source of human power, another tool of society’s arrogance. To fix the world would mean to know not what we claim to know. Survival isn’t necessarily the key and the human race, generally, is so selfcentred that we will be the creation of our own demise, let alone all other “lesser” life. Nothing can be completely proven and science is only fundamentally theory. Little trust is caused by conspiracy, as far back as human creation. The main evil is obsession which envy evolved from. TOP: The Early Retirement of The Messiah Installation; oil on un-stretched canvas, teddy bear, ribbon, black bin bag, tree nails £800 (neg) BOTTOM: Plan B, 2007 184 x 180cm Oils and linseed oil on un-stretched canvas, two nails Price: £1,300 (neg)
This life should be seen as simple as a joke or one can develop the potential for the worst. Existence is humorous because we don’t or won’t exactly know what it is.
Jeanette Clarke I have recently graduated with a BA in fine art at the Cheltenham school of art. (Gloucester University) My practice is mainly based on the human figure and portraiture, mostly using oil paint or charcoal. I do however; paint other subjects such as horses or abstracted figures, often using inks occasionally mixed with watercolour. My latest work is a series of figures dressed in various fabrics. These images are a result of my interest in how we as people form a personal bond with the clothing we wear; as materials serve many functions to fulfil all of our needs. Often this bond stems from difficult personal experiences we all go through at some time throughout life. Materials act as a comfort, for example, the physical feel of fabrics through to the emotional connection one can have for individual items of clothing. This theme for me was a cathartic experience stemming from a difficult time. The self portrait titled Melancholy is the epitome of that episode. I always love to draw and paint something, whether it is related to personal experience or not; art to me is not only therapy it is also a great pleasure to be able to apply something onto a surface and become engrossed in the practice; all the better if I would be able to become totally professional and do it for a living. Whatever the outcome and future will be for my art though, it will always be a part of me.
Top: Simon. Oil on canvas 81 x 122 cm ÂŁ700 Bottom: Melancholy. Charcoal on paper 99 x 70 cm ÂŁ245
jeanette.clarke3@btinternet.com
Carcere 2009 70cm X 60cm Oil on canvas
075 300 41229
jonathansilverman.info
Mani 2009 70cm X 60cm Oil on canvas
AMY-ROSE DEFFLEY
My work since 2005 has evolved into the investigation of small aspects of everyday life, of memory, knowledge and events.
The emphasis of my practice lies within social documentation, examining the presence and activity of others in relation to my own being. I am interested with the recent histories of individuals, the residues of life and time past in order to fulfil my own personal desire ‘to know’. Cafe, Weston-Super-Mare, Photographic print, limited edition, 2007.
The Flat Above Biagio’s, (detail) Photographic Prints & Audio, limited edition, 2008.
My work is predominantly installation based, taking the form of photography, often with audio and sculpture work to act as additional forms of documentation.
e-mail:
website (degree show): mobile:
Grandad Tells Me About Where He Used to Live (detail) Photographic Prints & Audio, limited edition, 2008.
amy_rosies@hotmail.co.uk
controlartdelete.co.uk 07920 797 286
Marco Russo Di Chiara
Marco Russo Di Chiara
Assenze
Oil on board 40 x 75 cm Born 1983, Sicily 2002-2006: degree in Classical Letters (cum laude) University of Studies of Rome "La Sapienza". EXHIBITIONS Selected Group Exhibitions: 2007-2008 December 14th – March 14th, Members and Associates Exhibitions, Galleria L'Acquario, Rome 2004 February 10 th – 20 th, Winter Show, Circolo degli Ufficiali, Palermo SOLO EXHIBITIONS 2005July 25ht – August 15th, Abstracts, Palazzo Pottino, Petralia Soprana (PA) Cinematographic and theatrical experience. Assistant director of TV movies. Actor and director of plays.
My work is born by a spiritual necessity of silence. I decided to stop all after a period of my life full of rumours.
Assenze 12 Oil on board 51 x 53 cm
No study, no objectives, no words. I needed a pause. In music the pause is an empty space among notes, it lets musician and listener take a breath. I felt the pauses’ optical translation was a space not full of things and colours, so I decided to paint vegetable elements (especially white flowers without leaves -symbols of purity, lightness and rebirth) juxtaposed against metallic elements. Metal creates a contrast and symbolises difficulties of living, it's the opposite of lightness but doesn't create a sense of heaviness in composition. All is set in an indefinite, clear and minimalist space. The horizontal format suggests a human dimension. Generally the vertical format symbolizes the "ingressus ad deum", that is the human attempt to reach a not human reality; instead the horizontal line indicates an earthly way, and even if my search is more spiritual than human, it is set in a worldly context because I feel we have to find divinity in the earthly dimension and life in pause and in silence.
Assenze 5 Oil on board 40 x 75 cm marco.ali@tiscali.it
Jimmy Bumble If you were to look in the darkest corners of London’s streets, down back alleys, in amongst the mould and decay of abandoned buildings, or in your local skip, you may just stumble upon Jimmy Bumble, searching for treasure. The decaying oddities, unloved, lost or discarded by the average person are avidly collected and taken back to his dingy laboratory. Jimmy Bumble is a London born artist who’s talents lie rooted in his ability to see wonder in the ugly reality of city life. Having moved from the city to the Hampshire countryside and back again has helped him develop a skill of combining the industrial with the natural and giving him an amazing eye for seeing an artistic potential in everything. A pyromaniac at heart, Jimmy can often be found crouched in a dark, damp corner; the flicker of a blowtorch flame casting shadows high upon the walls, as he moulds and shapes his creatures into their unique, hideously alluring form. Tesco carrier bags, packing tape, hair clippings, cogs, soil, cigarette butts, and other repulsive fodder, are transformed into tiny Frankenstein monster’s. Each one equally beautiful and grotesque, each dislayed on a unique plinth or set and each one of them are waiting... Waiting for you to come and find them.
Noomi Spook
contact Jimmy Bumble at: manimal_farm@hotmail.com www.musecube.com/jimmybumble photography by kingsley.kpb@virgin.net