Vhils “Dissection” Museum Show Recap

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From 5th of July until 5th of October 2014, Alexandre Farto aka Vhils, our Issue #22 cover artist, had a big museum show at the EDP Foundation in Lisbon. Being his biggest show so far, the focus of the show was dissecting the elements of what we recognize as urban life. The show included various styles of works, from public pieces through the city, signature scratched doors, paper and wood panels, styrofoam sculptures, to impressive dissected train cars. After 15 years of creating art, 2 years of working on this particular show, 3 months of showing the works to the public, Vhils’ landmark solo show reached a record-breaking attendance of over 65,000 visits!

VhilsFundacaoEDP.com
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In order to commemorate this moment in his career, Portuguese artist recently shared this nice video showing making of this extensive and complex show, as well as giving us a virtual walk through the museum. He also recently released a show catalog that is available through his official website.

The Noble Art – Jamie Hewlett

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This is a print that was inspired after Stuart Lowbridge and Jamie Hewlett’s good friend, Jon Brookes, was taken by brain cancer. Brookes, only 44, was the drummer of The Charlatans and a man that touched many by his music and also his magnetic personality. He had an incredible zeal for life and worked with and managed many young musicians throughout his career.
Jamie Hewlett is a renowned worldwide award winning artist known across the globe.

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A mutual respect and friendship between Stuart Lowbridge, Jon and Jamie prompted Stuart to commission Jamie to create a limited print (an edition of 150, signed and numbered by Jamie Hewlett) that would celebrate Jon’s life and keep his memory alive. Stuart also runs a small, dedicated musical gathering, called ‘The Social’. This print features just a few of the artists whose music is regularly aired at The Social.

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Jamie has created this strikingly timeless poster print, which Stuart and Jamie felt compelled to donate all proceeds of towards ‘The Brain Tumour Charity’, in memory of Jon. To boost the total donation, Stuart and Jamie attempted to approach as many, if not all, of the legendary artists featured to sign a handful of these prints to go to auction.

Sir Paul McCartney, David Bowie, Blondie, Gary Numan, Paul Weller Stevie Wonder, Noddy Holder, Kevin Rowland and Adam Ant have already been kind enough to sign artist proofs for auction.

www.jonbrookescharityprint.co.uk

www.gorillaz.com

Nick Walker – Solo Show NYC & New Collabs!

Nick Walker’s first solo show in years, ‘All I Ever Wanted Was My Name On Fire’, is a continuation of the Vandal storyline. If you look at each ‘Morning After’ painting as a cover for a novel, then this show is the pages within the book.

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The show opens on Thursday 16th October – the venue is 345 Broome Street at Bowery, NYC 10013 and runs for one week. Please rsvp@jb-pr.com for guestlist.

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Nicks latest collabs with Royal Doulton and his latest book will be available soon and a ltd edition print, ‘Gotham Vandal’ is available to purchase at the show.

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And to whet your appetite a little more, here’s Nick modeling our new VNA x Nick Walker collab scarf, available to buy on our website soon…

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www.theartofnickwalker.com

RONE – ‘Lumen’

Opening next week (October 24), Rone’s first show in Australia in over two year, ‘Lumen’, will include eleven large-scale portraits inside and outside of the gallery and a twelve metre high mural on the building’s adjoining ventilation tower. The space itself – an abandoned office building slated for demolition – has been transformed into a black (and blank) canvas. The artworks will be brought spectacularly to life by lighting designer, John McKissock.

“Lumen explores that pivotal moment in our lives when we realise that we need to believe in what we see [and know to be true] rather than what we’ve been told,”
“It’s that point in your life when it becomes time to think for yourself, formulate your own opinions and develop a sense of personal identity without consideration to the past or outside influences. That’s why I titled the show Lumen – thematically it’s a series of works about seeing or following the light.” Rone.

Check out the teaser video with a full version promised soon!

RONE Teaser from Robot Army on Vimeo.

L7M – “No Hope, No fear”

In 2001 one thirteen year old Brazilian boy wielded a spray can for the first time… Thirteen years further L7M, now 26, has scarcely looked back. From his home city of Sao Paolo this prolific artist has sent colourful birds migrating onto walls on a worldwide scale. In light of his recent globetrotting, VNA got in touch with L7M for a short interview to find out a little more about his life and work.

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JS: The story of your beginning is very interesting, not in the least because you began when you were so young. How did things start for you?

L7M: I always loved to paint and draw however when I was 13 years old I first started to get in touch with graffiti and tags. I found some spray cans in my father’s room and that is what lead me to begin to paint on the streets. All the way along I was trying to put on the walls what I made on the paper.

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JS: Not only did you begin at a very young age but you also practiced initially within a very small town. How do you feel this small town upbringing has affected the way not only you, but also your art has grown?

L7M: I believe that like any street artist I am influenced by the big however I also take lots of inspiration from smaller places. Because of this I often like to paint my art in small cities that have little other contact with street art. As well as this, my hometown is a special place for me. It is there that I started to paint some abandoned places. I love to paint my art in abandoned places, abandoned by people and time. I find that I can absorb the energy of these forgotten locations, they are like temples for me, where I can express myself freely.

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JS: How would you describe your work as if to someone who had never seen it before?

L7M: My art is a reflection of the way I see life nowadays.
The focus of my art is the point where the abstract and realism meets the chaos and reflects upon my aesthetic. The way I express my relationship with chaos uses Birds, Faces and Jellyfish…These are symbolic to me of recurrent issues in my artistic career since my childhood. The birds are symbolic to me of a constant strive to find freedom in a chaotic setting. The search for freedom is tireless. The faces are like angels, into them I paint everything I sense, feel and see in the place. To paint faces is a virtue to me.

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JS: Your style is very unique, what inspired it and how does it evolve?

L7M: My style is a mix of everything I like to paint with both abstract and realism. The mean idea is do reproduce something in my way, working my own identity. I try not to be influenced by other artists and to keep true to myself alone, which has also helped me a lot to get into my personal style.

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JS: Do you have any upcoming plans and what other exciting things can we expect from L7M in the future?

L7M: I intend to take my art all over the world, and keep sending my visual messages. I believe art has the power to change people’s lives and I want to make art for the rest of my life. A phrase I like to use which would perhaps answer your question is “Nec spe ned metu.” It means “No Hope, No fear” and it was said by Michelangelo Merisi da Caravaggio.
At this moment I am at my third tour. This world tour is part of the project I have, where I sent my artistic messages to everyone. I try to do everything totally independently. This time I visited 9 European cities. The main idea is to take my faces and birds to the world, especially using images of local birds and birds in extinction, using everything I see to inspire me.

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Etam Cru “Bedtime Stories” @ Varsi gallery, Rome

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Polish artistic dynamic duo – Sainer and Bezt aka Etam Cru, are opening their fresh solo show with Veri gallery in Rome @ 30th of October. After their successful show in Paris last year and Barcelona earlier this year, Italian capital will get a chance to experience and enjoy their recognizable style and imagery.

For this show both artists are creating new large canvases, as well as couple of drawings. While in the city, the artists will also collaborate on a street piece, adding Rome to the list of world cities where they left their signature mark in form of large public murals. Known for their dynamic, surrealistic images, with a great feel for light and atmosphere, we’re looking forward to seeing what Etam Cru0’s Bedtime Stories look like.

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PangeaSeed – Aaron Glasson Interview

Aaron Glasson is the Creative Director for PangeaSeed, an international organization which collaborates with members of the art, science, and environmental activist communities to raise awareness of marine issues. PangeaSeed is dedicated educating people about the current problems surrounding the conservation and preservation of sharks and other marine species in peril. Aaron’s personal creativity also holds its own in the art world, as can be seen from his projects and

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VNA: Tell us more about PangeaSeed?

Aaron Glasson: PangeaSeed is a collective of creative people concerned about the state of the worlds oceans. We’ use art and design as a tool to educate and inspire people to get behind marine conservation and create positive change.

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VNA: How did you first get involved with the project?

AG: Tre Packard started PangeaSeed back in 2009 in Tokyo, Japan. I had just moved to Tokyo and a friend introduced us at the first ever PangeaSeed event, which was a fundraising art exhibition. Tre needed help, and I wanted to get involved. That was about 5 years ago now, and since then we’ve hosted about thirty art exhibitions, film festivals, and so much more.

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VNA: What is your role over there?

I’m Creative Director for PangeaSeed. I make films, design stuff, curate, paint, do all sorts of things.

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VNA: What are the most exciting things about Pangeaseed for you?

AG: We are constantly working with really incredible people from around world, and there’s always new people getting involved. It keeps me optimistic and inspired to know that things I care about, others do too. Our projects are getting more and more ambitious. I’m really excited about the Sea Walls: Murals for Oceans Project. We’re been painting murals around the world that encourage marine conservation, relative to the areas the murals are painted and the project is getting huge. We just hosted a festival on an island [Isla Mujeres] off the coast of Mexico. We had 15 amazing artists there, all painting murals about the endangered Manta Ray and Whale sharks.It’s rad, because it really beautified the Island, and got people interested in the animals. We have many more Sea Walls events in planned in the near future, which is exciting, I feel the like project has infinite potential.

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VNA: How do you choose which artists you work with and what destinations you go to for projects?

AG: We’re worked with over 500 artists over the years, sometimes they approach us, sometimes we approach them. We often approach people we think are interested in the causes, and are good at what they do. It’s a bonus if an artist has a following as it helps reach and educate more people. We choose destinations that have an obvious or critical need for some kind of intervention, change, and are open to it.

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VNA: You also work as an artist over at www.rahkaishi.com – how do you balance the two creatively?

AG: My personal work and PangeaSeed is often one and the same, but I do freelance work and have a personal practice also. For a while, all I did creatively was PangeaSeed and ocean-related, but in the last year or so I’ve been focusing on my own work a lot more. To be honest, as much as I love it, it got jading just making art about the ocean and it’s problems, so it’s been nice to make work outside of that, unrelated, and more about my own existence and experience. It is good to have both though, it’s balancing in that way.

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VNA: What are the longer term goals and initiatives of your projects?

AG: Long-term, we just want to keep getting more and more people involved, and keep making projects that have real tangible and positive effects. The idea is to make ocean conservation hip, mainstream, in the mass consciousness and make it the priority it needs to be. Everyone one of us can and does effect the oceans daily with how we live, our consumption habits, what we say and do. We would like people to realise that and not feel incapacitated, but empowered.

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www.pangeaseed.org

www.rahkaishi.com

Meanwhile in Ultraland – Look (Lars Wunderlich)

‘Meanwhile in Ultraland’ is LOOK, aka Lars Wunderlich’s upcoming solo-show at Epicentro art showcase his current works on canvas, drawings and prints. The exhibition centers around the series …It was all green instead.

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The topic of the big sized paintings is going back to a dream LOOK had as a teenager: Plunging into the fluid ground of the earth he was able to see the blurred world from below. Carrying and being inspired by this vision LOOK felt now encouraged to paint what he saw down there so many years ago. This dream considered as a starting point for the entire imagery of the artist is strongly connected to the topics he is dealing with. Meanwhile in Ultraland is a post apocalyptic world, ruled by nature.

Opening October 12th – 26th

More info: www.epicentroart.com

www.looktheweird.tumblr.com

Word To Mother – Too Blessed To Be Stressed

We got a cup of tea with London-based artists Word To Mother ahead of his latest show, Too Blessed To Be Stressed, at Stolen Space Gallery, opening Thursday 9th October. Getting the rundown on his development as an artist and his other love, tattooing.

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VNA: Can you tell us about your new show dude?

WTM: It’s called ‘Too Blessed To Be Stressed’, opening 9th October, it’s my first show at Stolenspace since 2011 and I’m pretty excited.

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VNA: It’s not your first solo show, obviously?

WTM: No, I’ve been showing at Stolenspace since 2006, my first solo show was 2007, but this show is based on comparison culture and how people are kind of fixated more and more on what they don’t have than what they do have. I’m trying to bring it back to bring it back to concentrating on what we do have, documenting my surroundings and my general gist of the world.

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VNA: Does this mark a certain maturity for you and for your thought processes?

WTM: I’d say I’m getting there. I like to think so anyway. I think this is a dig into the more conceptual side of things, or at least a foot in the door at doing that.

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VNA: Have you stepped away from your street work to do this?

WTM: I would never classify myself ‘street’, particularly, I still like to paint graffiti but I annoy myself if I paint what I paint inside, outside, because I’d have a sketch to go from, I’m figuring it all out and I don’t particularly like to do that in public. It’s a very strange thing. I like painting letters outside. I’m trying to do something different in the studio than I do outside, unless I’ve got the environment to do that, like I did at Urban Nation. I’m such a fussy, pernickety character, that I’m just whittling out the ways I don’t operate well. Outdoors, letters just work better for me. I’ve always been happy doing letters, they get to the point, whether it’s more of a typeface or graff thing… I could definitely have made a bigger noise worldwide, but I didn’t want to, it didn’t feel right, so I can only do what feels natural to me.

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VNA: How has your studio work developed?

WTM: I’ve looked back over a lot of my older work and there was some stuff that I was really into and some that I wasn’t. Obviously I want every show to be my best, but this was almost like a retrospective. I wanted to touch on different points, I’ve got some paper studies, which I haven’t touched on since my first show, they’re a bit looser, they’ve got a nice illustrative quality. I wanted to do some text-based stuff, some stuff on old wood and some big pieces that had all the bells and whistles. I wanted to bring together all the stuff that I’m known for, all the characters, the typography together and bring that together in a more mature context. I wanted to knock the palate down again, when I’ve become more primary in my tones, I wanted to take it a lot more earth tones and after having mini meltdowns for the past 3 months, I’m finally happy with it.

TO BE CONTINUED…

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www.wordtomother.co.uk

Images courtesy of Ian Cox/Wallkandy and Spraying Bricks