WARPAINT by WARPAINT

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ASPIRE TO INSPIR E

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Welcome to WARPAINT! I am very proud to present the very first issue of WARPAINT, the art magazine for art students and graduates. Each issue will give you a look into the art world and the world of the artists. Throughout the creation of this magazine I have spent my time munching on chocolate and sweets with a break here and there for ice cream. I have to admit there was some vodka thrown in for good measure, but it only aided the creative process in my opinion. I know chocolate and vodka isn’t for everyone. So, whether you’re sitting at your desk with a pencil at the ready, drinking a cup of tea or staring out of a window with a glass of orange juice waiting for inspiration to strike, I hope the next 70 pages help on your creative journey. As a magazine, we aim to give you a diverse and entertaining experience every time you pick up a copy. Varying content means we all get to explore different aspects of art. More importantly it allows you to delve deeper into your passions and gain new knowledge in your niche area or in a completely new field. This issue takes a close look at 3D art, from working with clay and paper cut designs, to having a chat with one of the world’s best 3D street artists Joe Hill. His legendary work has featured in city centres, movie promotions and product endorsements all over the world. With a world record under his belt it doesn’t look like he’ll be slowing down any time soon. Flick to page 42 to read more on Mr Hill and see some of his incredible work. Each edition also explores a different city in the world. This time it’s Paris and we’ve looked to illustrator Malika Favre and ballpoint pen artist Allan Barbeau to impart some of their artistic wisdom from overseas. There’s also an exhibitions list for any spontaneous culture trips you may take and city snapshot pages filled with the photographs my team took in Paris. As well as the changing focus sections, there’s also the regular feature slots. This issue includes Cornish painter Brett Humphries, illustrator Tom Joyce and a look at mobile phonography and how it could be changing photography forever. Seeing the final pieces of the magazine being brought together made me immeasurably proud of what the WARPAINT team have achieved. I can only hope that you enjoy reading it as much as we enjoyed creating it. And don’t forget to scan our QR codes for even more. Paint, draw, design, photograph, sculpt, sketch. Aspire to Inspire.

I sent my team to find you two books you must simply have on your bookshelf. Of course they ventured into one of their favourite high street stores, Urban Outfitters, and picked out a pair of beauties to keep you inspired. Both are available online and instore for under 20 pounds. 2

O Film s ne To Watc h tuden t, Crai : g Hold en

Features P. 46 WARPAINT looks back on some of the most memorable, museum mishaps. P. 36 Lara Shingles investigates today’s mobile phoneography movement.

Interviews

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P. 5 sh 0- 67 ine a l This igh iss t on ue Ga , we i Pa ris!

Art In Focus

P.14 Tom Joyce reveals the inspiration behind his intricate drawings.

P. 11 Landscape painter, Brett Humphries, is feeling fearless.

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P. 20- 27, 42- 44 3D Art

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This Issue... Starving artists have always roamed the world, passionate, enlightened or depressed and mysterious, all trying to get their work noticed and where ever possible get paid. It can be a daunting prospect to face the uncertainty of a creative career. It can be a lonely path too because let’s face it, most parents would prefer their child to have a sensible job with a steady wage. It can be hard to find people who share your artistic vision but everybody needs a few life and career cheerleaders. That’s where Talenthouse comes in. The website allows you to create a profile and show off your I spent five minutes with artist Martin Thomas. We work to more people than you could have ever did a round of quick fire questions, here’s what I thought of. It is a great way for you to find a new project and for people to find you. It is a platform for found out about him. He was a keen drawer as a child, and art unlimited opportunities, as there are always lots of was his favourite subject throughout school chances to collaborate with other artists and huge and college. He did a BTEC Foundation in Art brands. Most of all the site offers much needed and Design before moving on to his degree. recognition for all your hard work. He loves to capture the things he sees. He On the site now there are 1.8 million artists recreates landscapes, seascapes and skies and creators, 34.5 million conversations and a in his paintings. One place that is a constant community reach of over 700 million. So how do source of inspiration is Cornwall. Those southern you get involved? It’s simple. Go to the site and landscapes can be found in many of his pieces. connect with your Facebook account or via email. Find his work at www.martinpaintspictures.com Then you can participate in projects with leading artists and, no, you don’t have to be a professional. As long as you have The beautiful thing about learning is nobody can take it away the skills, there are lots of possibilities. from you – B. B. King. The site is really simple to use. Just Education is important when pursuing any career path, but read through some of the briefs, and I think it is especially important for new artists. Some may say if there is something that stands out they have a natural talent or that their work is instinctive, great, take a chance and enter. You never but what about everybody else? Having the opportunity to know? I fully recommend joining the study is great, not only will you learn new skills and ways site, if only to have more people see to approach projects, but you will meet lots of like minded your work and learn your name. people. Matt Ellero and Tom Joyce said exactly that when I And, who knows... next year your interviewed them for this issue of WARPAINT. t-shirt design could be all over the Another great opportunity that could broaden your view high street, or you could be jetting off as an artist and a human being is travel. Travelling the world somewhere sunny to photograph an will give you a new perspective and new inspirations. Malika amazing band. The opportunities are Favre, who is featured in the City Spotlight section, is from endless, Talenthouse loves creativity Paris now she lives in London and she loves it. and like I said, everybody needs If you are reading this then you probably have an interest some career cheerleaders. in art and are in training, or maybe you aspire to be. Either way never stop learning, you can never know too much.

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This Issue...

I would like to take a moment now, to confess my love for the free publications scattered around the major cities, especially the ones in Urban Outfitters. This month I picked up the first issue of Sheet, which is full of fantastic artwork produced by UO’s own, in-house talent. The fanzine itself is A3, so every piece can be kept as a poster. Needless to say, my bedroom walls are looking all the more fabulous thanks to the photographs, illustrations and paintings showcased within. I also picked up the sixth issue of Beat, a music and culture magazine from London. It’s a great read with some lovely interviews, but the visuals throughout are just superb to look at. Speaking as an art director, Beat’s risky experiment with different colours, typefaces, and column widths has shaped the magazine into something really fun and interesting. I’m really impressed by what they’ve done. With all of that said, go forth young readers! Pick up copies of your own and we shall join together in appreciation for fabulous freebies.

Congratulations to youth photographers Andrea Gjestvang, Natalia Wiernik, Nguyen Hoang and Alecsandra Dragoi for winning at the 2013 Sony World Photography Awards. They submitted some stunning images that you should definitely check out if you haven’t already. Harriet and I were especially captivated by Andrea Gjestvang’s series of images, One Day in History, which included photographs of survivors from the Anders Breivik shootings. The large amount of media coverage for this year’s awards, points to the rising popularity of photography. I don’t think photography has been as accessible to, or appreciated by the public, as it is in today’s society. Taking this argument to Harriet, she agreed that the ease at which people can take photographs now is certainly helping the art form. It’s pretty easy to become the proud owner of a DSLR now. But, for those finding it tricky still, there’s the smart phone. You only need to spend ten seconds on Instagram, to see the surge of people picking up their phones to publish their very own photographs. Sure, some of these people are shamelessly posting ‘selfies’, but a lot more are taking phoneography seriously. To read my investigation into this mobile phone movement, turn to P. 36.

The Shawlands Arcade, Glasgow, has been transformed into an interactive art gallery until Saturday, May 25. The show includes work from 50 aspiring artists, and includes examples of graffiti, installation art, short films, paintings, sculptures, glass and ceramic work. Speaking of ceramics, this issue I talked to Ann-Marie Robinson, who has been working as a ceramic artist for over thirty years. She creates highly decorative pieces that I am amazed by, so you can imagine how excited I was to be able to interview her. She opens up about working as a ceramic artist and offers some good advice to those aspiring to work in any artistic field. You can read the interview on P. 20.

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n e d l o H g i a r C Words:

Craig Holden, 19, is a film student at Southampton Solent University. We, at WARPAINT, have been dumbfounded by his creativity and passion when it comes to film, as well as the ease at which he settles himself in to the directorâ&#x20AC;&#x2122;s chair. He sits down with us to talk about style, inluence and aspirations. 8

Lara Shingles

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WHEN AND WHY, DID YOU DECIDE TO FOLLOW A CAREER IN FILM? I have always enjoyed watching films in the cinema. One day I was so curious with how people managed to make massive scale films, such as Lord of the Rings and The Dark Knight that I wanted to learn and become a part of creating something similar. TELL ME ABOUT SOME OF THE PROJECTS YOU HAVE BEEN INVOLVED WITH SO FAR. I have been making at least three films a year. In my first year, I made a short film called ‘Despondency’, which saw a man suffering from depression after the loss of his wife and it lasted around 5 minutes. This is my second year, and I have made a documentary on the homeless within Southampton and I am currently working on a ten minute piece of film. ARE THERE ANY DIRECTORS OR OTHER CINEMATIC FIGURES THAT INSPIRE YOUR WORK NOW? Peter Jackson is my inspiration of how I would like to be as a director. He is a brilliant, hardworking director, who manages to pull of his great ideas and transfer them into the medium of film.

WHAT IS YOUR APPROACH TO WORKING ON ANY FILM PROJECT? I like to think I take charge and lead the group down the right path so that we can create a good piece of film. I am usually the director for our projects, and people seem to follow and understand my directions rather well, which always makes the production go smoother. IS THERE A CINEMATIC STYLE YOU ENJOY PLAYING WITH MORE THAN OTHERS? I wouldn’t say that I haven’t developed my own personal style yet. But I try to incorporate creative cinematography with original, and heavily emotional pieces of music that work together in conjunction to create my desired meaning and affect. WHAT FILM PROJECTS DO YOU HAVE COMING UP? At the moment, I am making a film about the struggling journey a mother goes through to try and recover her lost son. Also I am hoping to make a war film set in a real trench in the coming weeks… but that idea is still being developed. WHERE DO YOU SEE YOURSELF IN TEN, TWENTY YEARS TIME? I’m not looking for a job in a studio, I’m aiming to make films and work hard on set locations all over the world. I would love to be a director, making films that millions watch and adore. That would be my dream job. All the stress and hard work from making a massive movie would all be worth it when I’d get to see the final outcome. †

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Picture Perfect Growing up in Cornwall, Brett Humphries was surrounded by idyllic countryside views that fed his ambition to become a professional artist. Now, 35-years-old and living his childhood dream, he talks to WARPAINT about the lure of landscapes, colour and being fearless. Words: Kirsty Fensome As a hopeful artist from an early age, he says, “I was always messing with something creative, whether it was drawing, painting or making stuff out of Lego.” Throughout his education, Brett’s natural abilities as an artist blossomed, and got more advanced through time and practice. Studying art at GCSE, and then fine art, graphic design and photography at A-level, he became even more passionate about the subject. “Art is a core part of who I am,” he says, “I have always had a creative imagination. I’ve always been able to create things from nothing.” He continued to study the subject through college doing a foundation course in art, before studying Scientific and Natural History Illustration for three years at Lancaster University. Growing up Brett saw the success of people in the art world and they were getting paid to do what they loved whilst being able to make a career out of it. Rather than just thinking of how that could be him, he went for it. “I have never been afraid to go for things and it has served me well so far in my art career,” he says. “I had become fairly proficient at drawing with pencils and was naturally curious to start working with colour,” he says, “Once I saw the early results of colour in front of me, I was hooked and didn’t ever do so much drawing again.” »

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After trying out different techniques over the years, Brett has settled for watercolours, oils and acrylics. He says, “I prefer acrylics but am happy to learn new things by using other mediums. Using different Photo Credit: www.bretthumphries.com mediums allows crossover techniques to be used which wouldn’t happen if only using one medium.” Brett was drawn back to Exeter a few years ago and began his work as a professional artist after spending six years as a designer and sculptor for an advertising and CGI company. The lure of the beautiful and varied landscape was too good of an opportunity to pass up, and it was then that his artwork began to flourish and he nurtured a career for himself. “I am inspired by “I AM INSPIRED BY BEAUTIFUL beautiful places that have PLACES THAT HAVE THEIR OWN their own magical aura, MAGICAL AURA” I paint things such as beaches, cliff top views, picturesque fishing villages and the high moors. All of these locations have their own unique charm and character and that is exactly what I am looking to your art when working as a professional. There’s no capture in my paintings.” room to have a favourite piece or a preferred location. For Brett, a key component in composing a great “I try to see all my work in the same way,” he says, piece of art comes from the accuracy. “Without “At the end of the day you have to sell your work, so accuracy, things do not look real,” he says, “With all you can’t afford to be too precious about it. I try not to my work I want the viewer to feel that they are looking get attached at all to my work.” at real objects or places on a 2D canvas. Errors will He is confident about the future, believing the only shatter the illusion that I have worked so hard to create.” way is up. He is hoping to inspire other budding artists Brett explains that you can’t afford to be too close to in the same way he was inspired. Speaking from his own successes in life, Brett’s advice for any would be up and coming artist is simple. “Work hard and always look to improve on your last piece of work,” he says, “Learn from your mistakes as it is those mistakes that help you to grow.” †

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It’s All In The Little Details Tom Joyce loves Star Wars, admires Isambard Kingdom Brunel and can be made happy with the promise of new fine liner pens. He talks to us about the mad vision behind his designs. Words: Harriet Whinkup

Tom Joyce, 26, from Southampton, describes his work as, “scenes packed with a variety of comical characters in a sea of mind-boggling detail.” He produces intricate illustrations that will dazzle you with all of the little details. Tom has had artistic ambitions since he was young. He says, “For as long as I can remember, I have always drawn in some way or another. In my schoolbooks, sketchbooks and on scrap bits of paper. It’s what I’ve always loved doing, even from an early age. It’s always been my passion and it made sense to pursue it.” He started pursuing an artistic career. He says, “I studied Art and Design at college, and had come to the conclusion that I wanted a career as an illustrator.” 14

He went on to study Illustration at the University of Plymouth and graduated in 2008. “I really enjoyed my time at university,” he says, “I learnt new tricks. I met some great people. I had the time of my life while gaining the tools to start my dream career.” He thoroughly enjoyed his university experience and recommends higher education to other aspiring artists. He says, “I would recommend studying at university if you are looking for a career in illustration. From my experience, it gave me the opportunity to develop new skills and gain knowledge of the industry. It gave me my independence to develop my style and build my portfolio. You are able to work amongst like-minded people and build networks.” Inspiration is a huge part of being an artist, there has to be a spark, an idea, something to get started. Tom says, “I get my inspiration from everything and anything! Books, movies, graphic novels, people I have met and places I have been.” He recommends carrying a sketchbook with »

Photo Credit: Tom Joyce http://www.mikefoyle.com/tomjoyce/

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you wherever you go, “I always carry a sketchbook with me, and find myself constantly sketching characters and ideas.” Tom talks about his hero, it isn’t an artist, it’s engineer Isambard Kingdom Brunel. He says, “He was a relentless worker, never stopping and he achieved so much in his lifetime and still had time for a family. He envisioned the impossible and left a great legacy, and he is a great inspiration to me.” Tom has already had some career success. He has recently shown his work in an art exhibition at the Southampton City “LOVE WHAT YOU DO. AND ALWAYS CARRY A Art Gallery, and it PEN AND SKETCH BOOK, YOU NEVER KNOW was enthusiastically received. He says, WHEN INSPIRATION WILL HIT YOU.” “My top three career moments so far are graduating, the Free Range exhibition in Brick Lane, London and exhibiting in Southampton City Art Gallery.” One eye-catching piece that featured in the Southampton exhibition was one of Tom’s skull illustrations. He says, “The skull collection originated from experimenting with filling a shape with my drawings. The skulls have turned out to be some of my favourite and most popular pieces. On first look they can be sinister although on closer inspection are very light hearted and fun.” Like any artist, Tom has his favourites. He says, And, one final piece of advice “Other than my skull collection, an image that is a from Tom: “Love what you do, and favourite of mine is ‘Viking Village’. I had a lot of fun always carry a pen and sketch drawing this and coming up with ideas. Even when I book. You never know when look at it now, all the little details still make me giggle.” inspiration will hit you.” † He launched his website in 2010 and thinks having an online presence is important, especially when working as a freelance. He says, “I think an online presence is essential. It is how you showcase your work and how clients can notice you. It’s a strong communication and marketing tool. I’d be lost without it. “Social networking sites like Twitter and Facebook are a key resource too. Many commission enquiries have originated through social networking sites.” Tom is currently working in collaboration with Post Living, where his designs will be placed onto home furnishings, from coasters to tables. He says, “This is a project I’m very excited about.” Thinking about his hopes for the next five years he says, “I hope to have products with my illustrations, to build my client base, to produce a large body of work for exhibitions and to illustrate some books. “I would love to have a book of my work published and to be widely recognised for my illustrations.” 16

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W ith

Clever

For three decades, she has been creating some of the most intricate and original ceramics. Now, WARPAINT talks to Ann-Marie Robinson about tacky craft, embracing colour and the challenges of clay. Words: Lara Shingles

Clay

Ceramic artist, Ann-Marie Robinson, moved to Northern Ireland in the 1970s. Due to her father’s career as Keeper of Applied Arts at The Ulster Museum, she was brought up in a house full of ceramics and glass, and soon discovered her own love for the art form. “It was just always there,” she says, “Even the cups and plates we used were art.” To the delight of her parents, Ann-Marie decided to pursue her passion for ceramics after toying with a career in journalism. She graduated from the University of Ulster in 1982, with a degree in three dimensional designs. “After leaving university I tried really hard to think of making things to sell,” she says, “producing really cringeworthy ‘craft’. “But, my heart wasn’t in it, so I just decided to make what felt right for me. Thankfully, people started to recognise my work and began collecting it.” In fact, since selling her first piece of ceramic art at her degree show- “A free standing elephant in a bikini!” she remembers- Ann-Marie has had a hugely successful career, spanning over three decades. Just a few of her accomplishments thus far include commissioning the trophies for the Belfast Making a Difference Ceremony, winning the ‘one-off’ category in Barry’s Teapot competition, and having her work in art journals such as “INSPIRATION COMES FROM EVERYTHING Ceramic Review, Crafts and Circa magazine. AROUND YOU…COLOURS IN THE SKY, She has also created FABRICS IN A SHOP, A DISCOLOURED public mosaics at the WALL, SOMETIMES A SKIN TONE.” Footprints Women’s Centre, Belfast and in the Sallay Gardens, Poleglass. As well as having worked on prestigious private collections for a list of clients including the former Irish President, Mary Robinson,

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and Mary Peters OBE. The popularity of Ann-Marie’s work is unsurprising. Beginning with a round or flat piece of earthenware clay, she carefully builds some of the most individual, and illuminating ceramics, using as many as 14 different colours, and generous amounts of gold, copper and platinum lustre. Ann-Marie reveals that she finds inspiration for her ceramics everywhere. “Inspiration comes from everything around you if you learn to be aware,” she says, “The colours in the sky, fabrics in a shop, a wall, sometimes a skin tone.” As for her vivid colour palettes, Ann-Marie insists they are always spontaneous. “I like to put as much colour and pattern on one surface as possible. I have an idea in my head of what I think it should look like, it doesn’t always work out.” It’s much more than bright colours and unique shapes that make Ann-Marie’s work special. The discovery of new details and decorations on her ceramics is endless, which is time-consuming. “It depends on what I’m putting on the surface,” she says, “If it’s a plain palette of spots and stripes then probably up to three or four days. If it’s a ‘patchwork’ of different designs it could take a week.” Remembering her most enjoyable piece of ceramic to make, Ann-Marie reveals her love for the punch bowl included in her 30 year Retrospective, held at the Island Arts Centre in 2011. “The satisfaction of hanging the cups around the little hooks was brilliant,” Of course, not even the most enjoyable pieces of art come without difficulty, especially those made with clay. “Oh God, where do I start?” exclaims Ann-Marie, when discussing the challenges of ceramic art.

“Money challenges, clay challenges, work that cracks or blow up. Glaze runs or pits, colours that don’t mature properly- it’s all »

All Photo Credit: Ann-Marie Robinson

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part of the course,” she starts, “I would say that what I have learnt is to try and accept these mistakes, learn from them and move on.” Ann-Marie’s recent works are large, sculptural female forms. For which, she uses a grogged clay and decorates with lustres and velvets. “As my confidence grew, I was able to handle bigger pieces of clay,” she reasons. Creating female forms, teapots, animals, or any other form of

“I CAN’T DO COMPUTERS OR WIRE HOUSES, BUILD CARS OR WRITE BOOKS. SO, I JUST KEEP MAKING POTS.” ceramics is still tricky for Ann-Marie when working on commission. “It’s difficult most of the time,” she admits, “all artists have an ego and go into meet clients with wonderful ideas bursting out of them. “But, they are soon knocked of their perch by sensible, ‘suited’ people who know exactly what they want.” Explaining more about working on commission, she says, “Some people are very open. Schools are good… they just give you a theme and let you get on with it. Private businesses can be very different.” Despite landing commissions, exhibiting her work and even selling one-off pieces to American customers, Ann-Marie says, “It would be nice to leave my mark somewhere very public. The centre of Belfast or at the airport, perhaps.” As busy as she is, Ann-Marie admits to balancing her personal and professional life with difficulty. “I have three children and a longsuffering husband,” she says, “There are many times I feel guilty when I’m in my studio and the kids are with Paul. But, I think it makes

me a better person because I’m doing what makes me happy.” And, Ann-Marie has been able to do what makes her happy for over 30 years. How? “I just keep going!” she reveals, “It’s all I can do… I can’t do computers or wire houses, build cars or write books. So, I just keep making pots.” For those just starting their career as an artist, she offers some similar advice. “Keep going and believe in yourself!” Ann-Marie’s work can be seen in The Ulster Museum and the National Museum of Ireland. A permanent collection of her work can otherwise be found at Taylor Gallery in Belfast. †

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Imagine That Matt Ellero is a self-confessed perfectionist who hates impolite people and loves a good Chinese takeaway. He talks to WARPAINT about finding his niche in a competitive industry. Words: Harriet Whinkup

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and get into contact with like-minded people and potential future clients. I remember the course taught me how important it was to work hard. I really enjoyed it although I regret not studying illustration.” After his graduation Matt worked on developing his artist style. He says, “The use of 3D and intricate detail in my illustrations only really came about through lots of practice as I’ve honed my style over the past few years. It’s only really been in the last 6 months that I started to feel I found my niche.” Matt understands the need to set himself apart from all of the other artists. He says, “I think it [his decision to create 3D artwork] »

Matt Ellero, 29, from Peterborough, produces intricate three-dimensional paper cut illustrations, all made with dizzying detail. Last year, Digital Artist Magazine chose him as one creative to watch. We think the same could be said this year. He says, “It felt awesome! It was nice to know that other people liked my work. I think it was the first time I started to have confidence in my drawing ability, and myself.” How does he create work that is so ornate? Matt says, “I do lots of research. It usually begins with a web search, images are a great way of kick starting my imagination. I do look to nature and other “IT’S ONLY REALLY BEEN IN THE LAST illustrators too.” “I look up to Camilla 6 MONTHS THAT I STARTED TO FEEL D’Errico. She is doing what THAT I HAVE FOUND MY NICHE” she loves and getting paid for it. I am very fond of her work.” Whilst there are some similarities in the cartoon based styles of Ellero and D’Errico, on the whole their work is very different. Matt grew up wanting to become a train driver but he recalls always enjoying art and drawing. He graduated from Stamford College in 2004 with a distinction in DipHE Graphic Design. Matt says, “Studying is a great way to hone your skills, build up your portfolio 25

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stems from trying to do something different, trying to find my own style and do something that hasn’t been done before.” So now he feels he has found his niche we wanted to know what processes he goes through to construct his work. He says, “I start by drawing each object out in pencil. Then I scan them in and go over the outlines with my Wacom tablet. Next I will print out all the drawings onto card and then cut them out. Next I will stick each “STUDYING IS A GREAT WAY individual piece onto a 3D frame, kind of like a 3D TO HONE YOUR SKILLS, BUILD UP YOUR PORTFOLIO jigsaw puzzle. When it is finished I will take a photo AND GET INTO CONTACT of it and alter the contrast WITH LIKE-MINDED PEOPLE in Photoshop. “I like to use Posca AND POTENTIAL FUTURE pens and Daler Rowney CLIENTS” Bristol board. Once I find a brand I like I tend to stick with it. I would say my most precious item or supply is my 2H Derwent pencil! Where do I buy supplies? Mainly from Hobbycraft or my local art shop.” Every artist, or person for that matter, has moments they are particularly proud of, Matt’s include working for the American charity Art With Heart, being named by Digital Artist magazine as one of the Top 10 Artists to Watch. Also, being commissioned by a local school to paint a wall mural. “It was my first mural, it was great fun and a huge learning curve.” Matt is currently working on an album cover for Secret 7, which is a charity auction and exhibition. He is also working to improve his online store and looking to start some work on an interactive iPad app for a publishing company. He speaks about the importance of having a strong online presence if you’re an artist on the hunt for opportunities. He says, “Having a portfolio website is essential and I would highly recommend joining Twitter too, it’s a great way to find 26

out about jobs and competitions and talk to like minded creatives.” In the next five years Matt hopes to have regular commissions illustrating children’s books. He would also like to settle down and have children. “One day I hope to show my son or daughter a book that I have illustrated.” One last statement, “Remember. If you have fun drawing, it’ll show in your illustrations!”

Photo Credit: Matt Ellero. www.mattellero.com

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Check out Matt’s work on his website: www.mattellero.com † 27

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Shoot Outtakes

Cover

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We had so many lovely photographs from our cover shoot this issue, that we couldnâ&#x20AC;&#x2122;t just choose one to show you. So, feast your eyes on some of our favourite runners up... Including one in which, I managed to powderbomb two very important members of our editorial team. Sorry, not sorry.

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The Mobile Phone

O E

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Photo Credit: BĂŠnĂŠdicte Guillon

Thanks to developing technology, smart phones have now evolved to the point that the best camera in the world is, perhaps, the one in your hands. Words: Lara Shingles

Photo Credit: Bénédicte Guillon

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Low price, high image quality, easy editing and instant distribution. All of this has enabled a surge of creativity in the field of smart phone photography. And, it has allowed for altering approaches, from fine art to photojournalism to film. With smart phones it’s simple. Photographers don’t have to think about f-stops, ISO ratings and other technicalities. They can just concentrate on creating and capturing the moment. There’s then an infinite assortment of cheap and easy-to-use applications, which allow photographers to filter, combine, tint, crop, scratch and even add typography to their images. Bénédicte Guillon, a Parisian street photographer “MY ABILITY TO SHOOT AN IMAGE and one of the founding members of the former Mobile CREATIVELY, POST PROCESS IT Photo Group, calls smart phone photography “a very AND SUBSEQUENTLY SHARE IT ALL unconscious process”. She says, “When I use my iPhone, I don’t really think about it, I just shoot as I WITHIN A MATTER OF SECONDS IS feel that something can happen. It is a tool that can TRULY REVOLUTIONARY” respond to the immediate intuition, or emotion.” “My ability to shoot an image creatively, post process it and subsequently share it all within a matter of seconds is truly revolutionary,” agrees national award-winning video and multimedia producer, Richard Koci Hernandez. “The smart phone has an un-canny ability to foster immediate creativity.” In fact, this ability to manipulate, resize and share photographs on the same platform and in no time, makes it difficult for traditional digital cameras to compete with in terms of connectivitysomething that contributes towards the growing popularity of smart phone photography. To judge the popularity of working this way, look no further than Instagram. Launched in 38

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October, 2010, Instagram now has 90 million monthly active users, 40 million photos per day, 60,000 comments per minute and 8,500 likes per second. Instagram has guided people to look at the world through a three-inch screen in its promotion of hyper-sharing. “The most powerful aspect of smart phone photography is the device’s shareability,” says Hernandez, “Photo-driven social media is an “I’M A FIRM BELIEVER THAT THE ACT OF amazing way for CREATIVITY, TAKES AS LONG AS IT TAKES FOR THE photographers to get their work ARTIST OR CREATOR TO BE HAPPY, NO MATTER out into the public THE TECHNOLOGY AT HAND.” space. “I think that any photographer given the opportunity to have one of their images show up larger than smart phone photography, millions of pounds are life on a highway road sign near the also being made by developers, who can’t create most trafficked highway in the world, applications quick enough to satisfy the demands of the for free, wouldn’t have a problem new generation of ‘serious’ smart phone photographers. saying no.” The various photography apps create opportunities Calling Instagram “the highway to tell stories in a new, visual way. Hipstamatic, for billboard of our time,” he adds, example, has a square format, similar to a medium“The social photography revolution format film. The filters lean towards a shallow depth of has given me more opportunities, field and produce many quirks- something that would work and creative possibilities, than take a lot of time to produce in a darkroom. in my career.” In fact, by sharing “I’ve been fortunate enough to have worked in a his images for free, Hernandez has darkroom for a significant amount of time during my had his photographs featured on early years and I am extremely familiar with the amount the covers of books, magazines of time spent there,” says Hernandez, “One of the and albums, as well as having most exciting aspects of mobile photography is its been paid to speak publicly about immediacy. » mobile phone photography. Of course, there isn’t just Instagram available to smart phone photographers. Photographs are an important part of social networking sites such as Google+, Tumblr, Photobucket and Flickr too. As heard by Hernandez, these sites allow photographers the chance to scatter their work into a community of tens and thousands around the world, instantly. This builds up a photographer’s name that generates regular paid gigs. With the growing popularity of 39

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“With that said, I don’t run around like a chicken with its head cut off shooting, processing and sharing all the time. I, like many mobile photographers I know, spend a significant amount of time experimenting with mobile images, and apps to get the look, texture and overall tone of an image. “I’m a firm believer that the act of creativity, takes as long as it takes for the artist or creator to be happy, no matter the technology at hand.” Listing his favoured apps, Filterstorm, PSTouch, SnapSeed, WoodCamera, Lo-Mob, AfterGlow, KitCam, Hipstamatic and Hueless, Hernandez reveals the secretive art of ‘app-stacking’. Which is, as he explains, “to add textures and tone from one app, save the image to the camera roll, and then open the image again in another app, add more textures or scratches or tone, and save again to the camera roll and so on. I find this process allows for an extremely unpredictable and unique outcome… sometimes.” The endless options available to smart phone photographers for post-processing, has opened the art form up to both ‘photo obesity’ from aspiring photographers and criticism from existing ones. Although applying too many filters can open the door for a potential amateurish feel, Hernandez argues, “It depends on the ‘artist’ using the filters. The same can be said for the amount of images shared. It can be too much. “There is always the exceptional artist who can come, and inspire us by using a ridiculous amount of filters and posting images very prolifically. But in general, less is more, restraint is good and everything in moderation.” There is no separation between smart phone photography and 40

‘real’ photography, as others continue to argue. Smart phone photography is real photography and millions are practicing it. The growing global community of smart phone artists and developers create extraordinary work, that often captures the hearts of Instagram users and become people’s Flickr favourites. In an interview with photographer, Erick Kim, fellow founding member of the former Mobile Photo Group, Oliver Lang, said: “I believe more than ever before, photography is about a community culture, rather than a camera.” Raising the question of whether or not photography gear is far more irrelevant than many photographers would care to admit. To answer this, simply think about Polaroid. It was instant, with no negative and was not often too sharp. But, it had such an artistic quality distinct from any other. “IN GENERAL, LESS IS MORE, And, when put in the hands of photographers RESTRAINT IS GOOD AND such as Walker Evans, it EVERYTHING IN MODERATION.” was a powerful tool. “A good photo is a good photo, whatever the camera you use to take it. The result is what matters and it is up to the photographer to know what gear is best to obtain the result they wish,” says Bénédicte. “I am really unattached to the idea of devices being the central conversation point when we talk about photography,” agrees Hernandez, “So many photographers, and in the past I include myself, would focus so much on gear, and megapixels and apertures etc. that it steered conversation away from actually talking about the real focus of photography, light, moment, composition and feeling. “Certainly the iPhone is not the be all and end all of photographic

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Photo Credit: Richard Koci Hernandez

with a large, traditional camera, Hernandez admits, “I prefer a smaller, lighter, less of true sieve and stealthier device when shooting street photography. The iPhone is hands down, my go to tool when I want to capture candid moments.” The great thing about smart phones, as Benedicte explains, is that they have “democratised the act of shooting in public places.” Making it possible for anybody to start practicing photography. So, perhaps the future of photography and digital revolution will continue to go hand in hand. “If I have learned anything from the days when I was a teenager watching Star Trek, and never believing for a single moment that we could have in-ear, wireless communication devices like that of Uhura, it is to try not devices, but the point is that we are lucky to have a to predict the future,” warns Hernandez. large amount of tools at our disposal and the proper “But, I also believe one thing wholeheartedly, approach is to choose the right tool for the job at hand.” which is taken from the words of one of my favourite A common criticism of smart phone photography photographers, Ansel Adams. He said: “Photographic is that iPhone file sizes sacrifice vision survives any technological quality. In reality, they can be blown revolution.” To that, I say amen! I “PHOTOGRAPHIC up and still look fabulous. Richard VISION SURVIVES ANY am someone who believes that we Koci Hernandez has a 6” x 4” print will have implanted photographic TECHNOLOGICAL in his living room and its quality devices in our eyes.” REVOLUTION.” enlargement from an iPhone file Whether or not our eyes often wows visitors. are replaced by cameras, or “I also have a large portfolio of images printed in a photography is curated only online in ten, twenty, one National Geographic coffee table book and recently, hundred years even, it is important to be prepared. I was lucky enough to have some images printed in Now a faculty member at UC Berkeley’s Graduate the American Photo Magazine, one of which was full School of Journalism, Hernandez says, “I have a bleed and looked wonderful,” he adds, “From books to firm belief that the best way a teacher can prepare a magazines to gallery walls, the images are holding up student for the future is by paying close attention to the very well.” changes in technology and the profession.” Besides connectivity and, now, quality, smart phones Bénédicte advises that in spite of future photographic can liberate photographers from the burden of working developments, it is important for new smart phone with a professional DSLR on outings, which is a benefit photographers “have fun and stay humble”. † best received by street photographers like Richard Koci Hernandez and Bénédicte. “Shooting with an iPhone is the easiest thing you can do. It is the most natural and unobtrusive camera I know,” says Benedicte, “Unobtrusive for subjects first, but for the photographer too. “With a DSLR, the act of taking pictures changes. You are not as invisible as a smartphone allows you to be. Your public position is then different and you have to be comfortable with the idea of being noticed. This affects the way you face up to the environment.” Whilst it is not impossible to capture ‘real’ moments 41

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A Whole New Dimension Standing out from the crowd is a must as an artist, but in the world of 3D art all Joe Hill is worried about is sticking out from the pavements. Words: Kirsty Fensome As a boy growing up in England, Joe moved around a lot but has now found his feet living in Camden. He studied art at school, but gave it up shortly after to pursue a career in acting and drama. After getting a degree in his twenties, the stage was set for him in London to become an actor where he wrote his “WHEN ELSE CAN YOU LITERALLY own scripts but still did art IMMERSE YOURSELF IN ART WORK?” on the side to gain a bit of extra money. It wasn’t until he was 30 that Joe actually started painting as a career after receiving a request from a Spanish company to do some 3D art for them. He then partnered up with old school friend Max Lowry in the summer of 2004, taking their work onto the street to make it more accessible and inclusive. Pieces have varied from promotional artwork for films, to contracted work for companies such as Google, Xbox and BBC. “There is always the pressure to do the best you can and to constantly improve,” says Joe. “I’ve got some great memories, but there are no least favorites, they are all part of a journey and I’m proud of them all.” One of his fondest memories is a painting called The Blue Room. In 2010, his art partner Max died suddenly on the eve before he was due to marry, turning Joe’s world upside down. The Blue Room was the final piece that the pair worked on together so has great sentimental value to him. He was helped through by family and friends, continuing with his artwork and making himself known as 3D Joe and Max as opposed to working under his own solo artist name. Another of Joe’s favourite memories is of the Euro 2012 Goal painting as it 42

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incorporates different tricks and techniques. Perhaps the most famous of Joe’s pieces though is the world record-breaking Reebok painting done in 2011 at Canary Wharf, London. Although he and his team pulled off a huge spectacle, contending with British weather trying to do a giant outdoor painting was never going to be easy. He says, “That’s always a challenge. We used heaters and covers to protect the work whilst it was being painted, but at the end it was really worth it. It took eight days in total.” All of the images are chalked onto the surface to begin with and then painted so they cannot be eroded as easily when passers-by want to interact with them and stand on them. Designing and creating the anamorphic paintings is always a long process, but the result is always worthwhile if it makes people smile. “The pictures get fantastic reactions because they are designed to be interactive,” says Joe. “When else can you literally immerse yourself in art work?” If seeing Joe’s artwork has inspired the desire to create 3D pieces, the advice is simple. He says, “Be patient, be fearless and say yes to everything. Go for it, and never ever be afraid to make mistakes.” †

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Art Thefts

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A huge number of art robberies are conducted at gun point. But, the most impressive heists have always been the ones in which the criminals depend on something other than physical threats. Here, WARPAINT brings you five famous cases of thievery. Words: Lara Shingles

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VARIOUS ARTWORK, BOSTON, 1990 In March 1990, The Isabella Gardner Museum lost 14 pieces of art, estimated worth around £175 million- all thanks to two men with fake moustaches. The thieves posed as policemen, responding to a reported disturbance at the museum. Soon after being let in, they tied up the guards and began to steal a number of pieces. To this day, the artwork has not been found. Still focused on recovering the artwork in as best condition as possible though, the museum continue to issue recommended temperatures to the holders, and offer three million pounds for information which could lead to their discovery. MONA LISA, PARIS, 1911 Irate by the number of Italian works being featured in the Louvre’s French collection, Vincenzo Peruggia decided it was time to take ‘Mona Lisa’ back to its homeland. He executed perhaps the greatest heist in the 20th century. A handy man for the museum at the time, Peruggia concealed himself inside a supply closet after one of his shifts. Once the museum had closed, he lifted the painting from the wall and walked out with it hidden under his smock. The ‘Mona Lisa’ was missing for two years. During which time, thousands flocked to see the blank space on the wall and cemented the painting’s fame.

VARIOUS ARTWORK, MANCHESTER, 2003 In a strangely, selfless heist, three paintings were stolen from Whitworth Gallery as a way to highlight the gallery’s poor security. The thieves managed to evade CCTV cameras, security alarms, and pass by 24-hour patrols to steal works by Van Gogh, Picasso and Gauguin. The works, worth approximately four million pounds, were found the next day packed into a tube behind a public toilet. Attached to the paintings was a note, explaining that the thieves’ motive was to expose poor security at the gallery. THE SCREAM, OSLO, 2004 ‘The Scream’ has been the target of several high-profile art thefts. The most recent was in 2004 when, along with ‘Madonna’, it was stolen from the Munch Museum by masked gunmen. The paintings were discovered two years later in the back of a van, in a better-than-expected condition. Both ‘The Scream’ and ‘Madonna’ were put on a five-day, public display prior to repairs and restoration. Over those days, 5,500 people viewed the paintings. On May 23, 2008, the revived works were included in Munch Museum’s exhibition, Scream and MadonnaRevisited. VARIOUS ARTWORK, PARAGUAY, 2002 Ever wondered how many people it would take to dig an underground tunnel to a museum? Us neither. But, the same answer can’t be given by the man behind this next heist. In June 2002, The National Fine Arts Museum hosted the most valuable exhibition in its history, positioning itself as the perfect target for one, innovative art thief. An unknown man rented a store 80 feet away from the museum, dug a tunnel between the two and, thereby, managed to break in and steal five paintings. Among the art stolen was ‘Self Portrait’ by Bartolome Eseteban Murillo and ‘The Virgin Mary and Jesus’ by Gustave Coubert. » 47

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OTHER MUSEUM MISHAPS

Gustav Metzger’s 2004 installation, ‘Recreation of First Public Demonstration of Auto-Destructive Art’, was rubbish- literally. The cleaner, unaware that a plastic bag was part of the artwork, threw it away. Three, 300-yearold Chinese vases were victims of sheer clumsiness in 2006, when a man tripped over his shoe lace and collided with them as he fell down a central staircase. He was fine, but the museum’s most valuable pieces were shattered. After six months of restoration, the vases are back on display , though now surrounded by a special case. In 2010, a woman fell into Picasso’s 105-yearold painting, ‘The Actor’, whilst taking an educational class in New York Met Museum. †

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PARIS

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Right On Point Forget pencils, paints and oils. Ballpoint pens are taking over. Previously seen as oddities, the artists and their creations are now being given serious consideration. WARPAINT talks to Allan Barbeau, one of the innovators behind ballpoint pen art. Words: Kirsty Fensome French born Allan Barbeau discovered his fondness realised that there was a lot of potential using ballpoint for art at an early age. Instead of going through phases pen to draw. of enjoying certain hobbies, be it painting, playing “When the time came, where I had to find a way to football or collecting stamps as many children do, his be distinguishable from the other millions of artists out interest followed him into adult hood. there, I decided to use it a bit more seriously as it was After experimenting with coloured pencils, Allan something rarely used in art at the time.” developed his skill in photorealistic portraiture, finding Using pen as opposed to pencil really has joy in creating pieces for friends and family. At 16, his separated Allan from other artists. He has developed mother sent him to art classes and it was there that his own unique style, using every coloured pen he can he grew, learning the skills get his hands on to create and talents to become a “I LOVE THE FACT AN IMAGE CAN the most realistic and professional artist. TELL A PERSON A STORY, AND convincing drawings, It wasn’t all about becoming He says, “Today I am MAKE THEM LAUGH OR DREAM” a professional, though. Allan able to do whatever I was not happy creating what want with them as easily he was told to. The desire to produce art pieces that as pencils. People can’t believe their eyes when they were personal to him grew and in 2002, at the age of know that it’s done with just a pen. That’s not the case 26, he moved to Ireland to find new inspirations and for everybody, and it makes me feel outside of the box pursue his own individual goals as an artist. and I like it. You have to draw with them to know the In Dublin, he embraced his love for fantasy drawing pleasure that they provide.” and indulged far more in the use of coloured ballpoint Allan also claims there is such a thing as the pen as a form of useable media. He says, “I rapidly ballpoint pen effect. When two identical drawings 52

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has become even more ambitious. Although he sells the majority of his services and creates pieces on request, in his spare time he has created pieces such as an A1 size recreation of the Mona Lisa in ballpoint pen, a piece that he believes is his best to date. In the works at the moment is an A1 pen drawing of the first year of his son’s life. He highlights the birth of his child as the best moment of his life and, although the collage is still in progress, it is set to be a fantastic feat in Allan’s personal achievements. Now 36-years-old, Allan works for his clients using the medium that they ask him to. Whether it is pen, pencil, pastel or paint though, he stands by his belief that it is never just about one piece as an artist. “It’s just that when you are getting better and better, year after year,

and then everybody is telling you that you have golden fingers, you start taking commission,” he says, “And when the time comes in your life where you have a choose between having a hard time finding a job you like to do, or embracing the job you would love to do for yourself, you don’t have to think too much about it.” †

Photo Credit: All images provided by Allan Barbeau

are next to each other, the only difference being one is done in pencil and the other in pen, people are always going to be more excited and rapt with wonder by the pen one, because that is just the effect that it has. In terms of skill, he says you don’t have to know how to draw to be a contemporary painter. “Of course, lots of painters, especially those who create realistic stuff have to know how to draw,” he adds, “But I have friends today who are real artists that paint for however many weeks to get their work in galleries and a lot of them can’t draw at all. It’s two completely different skills.” Anything can influence you to become an artist and, from then on, anything can inspire your creativity. For Allan, the desire to become an artist from an early age came from pleasing both himself and others. “I always love the fact that you can draw on a piece of paper the image you have in your head and show it to others,” he says, “I love the fact an image can tell a person a story, make them laugh or dream. “I would just keep drawing when my friends would prefer to watch TV. I wanted to get better and achieve a cooler, less kid drawing-like picture. It’s only when I started fantasy pictures, and became interested in dragons, goblins and trolls that I started to look at what other artists were doing. I discovered artists like John Howe and was inspired by their work. It was the quality I was looking for in my own.” More recently, inspiration behind his work has changed. Since moving to Dublin, Allan’s art has become more advanced and he

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Exhibitions In Paris Planning a trip to Paris? We’ve carefully handpicked eight exhibitions you really must see whilst you’re there. Words: Lara Shingles

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DE L’ALLEMAGNE, 1800-1939 @ MUSÉE DU LOUVRE NOW - 24 JUNE, 2013 During a close look at Germany, the Musée du Louvre will celebrate the national sentiment in Europe during the 19th and 20th centuries through fine arts and literature. Work from Otto Dix, Caspar David Friedrich and Paul Klee as they pursue the emergence of modern nation, is just some of what to expect.

CHAGALL, ENTRE GUERRE ET PAIX @ MUSÉE DU LUXEMBOURG NOW - 21 JULY, 2013 The Musée du Luxembourg will soon take a unique look at the work of Russian painter, Marc Chagall. Focusing on his artistic evolution through times of peace and war, art lovers will be able to immerse themselves in Chagall’s surreal worlds- which he creates by blending both modernism, and avant-garde influences. KEITH HARING, THE POLITICAL LINE @ MUSÉE D’ART MODERNE NOW - 18 AUGUST, 2013 Often mentioned in the same breath as Warhol, Lichtenstein and Rauschenberg, Keith Haring was very much an icon of pop art. An exhibition of over 250 Haring pieces, all showing a defiant attitude against South Africa’s apartheid, atomic war, environmental destruction and homophobia, will debut at Musée d’Art Moderne later this year.

DYNAMO, ESPACE ET VISION DANS L’ART DE NOS JOURS À 1913 @ GRAND PALAIS NOW – 22 JULY, 2013

ROY LICHTENSTEIN, UNE RÉTROSPECTIVE @ THE CENTRE POMPIDOU 3 JULY, 2013 - 4 NOVEMBER, 2013 This unique exhibition, curated by James Rondeau, takes a closer look at Lichtenstein’s lesser-known artwork. Plays on art-history icons, sculptures and Chinese style landscapes- Une Rétrospective celebrates more than Lichtenstein’s signature comic-book style. HEY! MODERN ART & POP CULTURE, 2E EDITION @ HALLE SAINT-PIERRE NOW - 23 AUGUST, 2013

Grand Palais welcomes a celebration of conceptual and perpetual art this summer. The work of Julio le Parc, Dan Flarin and optical artist, Victor Vasarely, is just some of what will be featured in a very visual and exciting exhibition. DOVE ALLOUCHE, GRAPHIC MISE EN ABYME @ THE CENTRE POMPIDOU 26 JUNE, 2013 – 9 SEPTEMBER, 2013 The Centre Pompidou will soon take its visitors on the creative journey of French artist, Dove Allouche. Mostly drawings, the museum will present 50 pieces of his best work. †

Following the success of their 2011 show, Hey!, the creators of the eponymous magazine are again taking over Halle Saint-Pierre. Goth-gore photographer, Joel-Peter Wilkin, and the king of psychedelic graphic novels, Jim Woodring, are just two of the 60 enticing and offbeat artists being brought together for this exhibition. LORNA SIMPSON @ JEU DE PAUME 28 MAY, 2013 - 1 SEPTEMBER, 2013 Spokesperson for African-American femininity, Lorna Simpson, shows the history of her community through video art and photography. This sharp and political exhibition includes an exclusively filmed video entitled, Playing Chess, and it will settle at Jeu de Paume until later in the year.

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Malika Favre grew up in Paris and has a wonderfully French outlook. Now based in London, she chats with WARPAINT. Words: Harriet Whinkup Malika Favre is a London based illustrator. She studied graphic design at the ENSAAMA Art School in Paris. She then moved on to study digital design in Farnham, before working at the well-known Airside design company. There, she started her career as a freelance artist, which has consisted of work “I FEED ON WHAT I SEE, READ AND with Wallpaper magazine, HEAR AND IT SOMEHOW COMES Penguin books, BACK AT ONE POINT OR ANOTHER Volcom and IN A PIECE” Vogue. 2012 also saw her very first solo exhibition at the Kemistry art Gallery in London. Malika describes her work as, “minimalistic, pop, colourful, and cheeky with a strong narrative core. Less is more with a twist.” How does she work? She says, “I sketch digitally. I keep the lines rough then quickly play with colours 56

and shapes, as these are the core elements of my work. “I usually do some intensive research on anything related to my brief. I actually jump from one website to the next. I try to look at as many images as possible. They don’t need to be beautiful, just have something to them. It would be fair to say that rely on my instinct for the most part. When I’m really stuck, I just start drawing and something always springs up after a while.” And what is her favourite part of the process? “The epiphany moment. It gives the whole process meaning and I find myself excited, like a child opening a present. I can see all the possibilities and any fear I had goes away.” Malika is inspired by other artists, like Jo Ratcliffe and Christopher Gray. She says, “Of course I admire other illustrators, photographers and artists and seeing beautifully

Photo Credit: Balconies - Hide and Seek. kemistrygallery.co.uk

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crafted pieces always has a strong impact on me. I think it probably influences my work somehow, but there is no direct connection. I feed on what I see, read, and hear and it somehow comes back at one point or another in a piece.” Malika has produced some provocative pieces based on karma sutra, much to the surprise of her family. She says, “My grandma was looking at the 69 screen print. She kept going on about how pretty it was and then suddenly she saw what was going on.” I think my dad was a bit embarrassed, but proud I am sure. He keeps teasing me and asking me what they did me that led me to draw erotic pictures. My mum is very proud and she always wanted me to be a free spirit. The whole family is very supportive.” On the subject of her family and her childhood she says, “My upbringing had a massive impact on what I do today. I come from a very open and quirky family. My grandparents, parents, uncles and aunts were all slightly eccentric and unique individuals, they still are. “Growing up in such a stimulating environment where everyone could say exactly what was on their mind, whether it was to laugh together or yell at each other, was amazing. It taught me to find my own voice early on and gave me the confidence to take risks in life. “My family was also very open minded when it came to sex and I think it had an influence on the erotic part of my work, which I developed later on. We never had any taboos and I think I owe them my perception of sex as playful.” Malika has been working freelance since she left the Airside Design Company. “I have been independent for a year now and it’s been amazing,” she says, “I

have some amazing projects, both big and small, and I have met some great people along the way. As long as I keep getting interesting work I will be happy. “I am happy about the way it came together. I have the luxury to choose my projects and clients usually trust me to do my thing, from concept to illustrating the final piece. I am conscious that I am very lucky to be paid to do what I love.” So what are her career highlights so far? “Chronologically it would be, being commissioned to do the pin-up alphabet for Wallpaper magazine. Then getting to do the Kama Sutra cover for Penguin. Then of course doing my first solo show Hide and “MY UPBRINGING HAD A MASSIVE Seek and working IMPACT ON WHAT I DO TODAY. I for Vogue.” COME FROM A VERY OPEN AND On the subject QUIRKY FAMILY.” of mistakes and what she would do differently she says, “Nothing. I don’t look back.” So finally, what are her upcoming projects? “I am finally getting around to doing the Kama Sutra exhibition I always wanted to do after the cover [of the book Kama Sutra published by Penguin.] It’s happening in April 2013, I just need to finish the work. I also just signed with Nexus, the production company. I can’t wait to get back into animation I think it could open some very interesting avenues.” To view Malika’s work and online store visit her website: malikafavre.com. †

Eiffel Tower, Paris

Notre Dame, Paris

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The Centre Pompidou, Paris

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The Centre Pompidou, Paris

Chocolate & banana crepe, aka the BEST food ever! The Louvreâ&#x20AC;&#x2122;s very own coin thief. And, Lara showing off her musical statue skills.

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An interesting character outside The Centre Pompidou, Paris

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Some Parisian street artists

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Summer Exhibitions In London

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The unmissable collections coming to London this Summer. Words: Harriet Whinkup

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BECOMING PICASSO PARIS 1901 @ THE COURTAULD GALLERY, LONDON 14 FEBRUARY – 26 MAY 2013 6 POUNDS

COLLECTING GAUGIN: SAMUEL COURTAULD IN THE 20S @ THE COURTAULD GALLERY, LONDON 20 JUNE – 8 SEPTEMBER 2013 6 POUNDS

This exhibition looks at the creation and the early work of one of the most famous artists. It is a journey to discover the remarkable story of Pablo Picasso’s breakthrough year as an artist in 1901. Becoming Picasso reunites all of the major paintings for his debut exhibition with the influential art dealer Ambroise Vollard. The collection will show his influence on the art world, his now famous Blue Period paintings and a collection of melancholic figures that are considered by some to be his first masterpieces.

This colourful collection of influential post-impressionist will appear in the summer months. The French artist, Gaugin, is thought to have influenced the likes of Pablo Picasso with his bright and modern art pieces. His work, like the Yellow Christ, is bright and very interesting.

LOWRY AND THE PAINTING OF MODERN LIFE @ TATE MODERN, LONDON 25 JUNE – 20 OCTOBER 2013 15 POUNDS L.S. Lowry is one of the most recognised British artists. The work of this northwest native focuses closely on the industrial town where he lived and worked for over 40 years. The exhibition will be made up of the Tate collection along with some pieces on loan. His recognisable matchstick men set in the industrial northern fog were an artistic triumph of the 20th century. This is a very exciting exhibition celebrating the work of this humble home grown artist.

ROY LICHTENSTEIN @ TATE MODERN, LONDON 21 FEBRUARY – 27 MAY 2013 FREE All lovers of pop art will be making their way to the very exciting exhibition at the Tate Modern gallery in London. This will be the first major Lichtenstein retrospective in 20 years. The exhibition will combine 125 paintings and sculptures, including both his pop art canvasses and his lesser-known works. The exhibition showing the revolutionary work of Lichtenstein looks to be a popular choice for 2013. MAN RAY PORTRAITS @ THE NATIONAL PORTRAIT

GALLERY, LONDON 7 FEBRUARY – 27 MAY 2013 14 POUNDS This exhibition will be the very first museum retrospective of the photographic portraits by influential artist Man Ray. The exhibition brings together his work from international galleries and private collections, it features over 150 vintage prints and key works. It will focus on his career in America and Paris 1916 – 1968, and will highlight Man Ray’s central role in the Surrealist movements.

OUT OF THE CITY..... JACOB EPSTEIN AND DAMIEN HIRST: BIRTH, DEATH AND RELIGION @ THE NEW ART GALLERY, WALSALL 1 JANUARY – 27 OCTOBER 2013 FREE Although the two artists never crossed paths their work, which was created at opposite ends of the 20th century, often shares similarities. Both Epstein and Hirst were and are still regarded as extreme artistic innovators who shocked and scandalised both the art world and the general public with their works. They challenged and changed the attitudes and social conventions of their day. This exhibition brings together their works on the themes of life, birth, death and religion. †

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“Everything you can imagine is real.” - Pablo Picasso

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