Brighton graffiti artist Aroe, exhibition at artrepublic

Aroe exhibition ‘Graffiti Owes Me Money’ opens at artrepublic from 29th March.

artrepublic Brighton are delighted to exhibit and celebrate the work of graffiti legend Aroe at our gallery, launching on 29th March with a Private View (FREE tickets available). If you’ve not heard of him you have definitely seen his work. For years his graffiti has dominated the streets of Brighton, cementing himself as a cultural force and public figure. He was often seen spraying up a wall of his choice in broad daylight, letting his natural charisma placate the startled public, and his faux-blasé attitude confound the police. It seems that he ran out of walls here in Brighton and turned to canvas. Not before continuing his work internationally from Brazil to Syria. Most recently a collection of his canvases was placed in the ‘Aroe Suite’ in the Palms Hotel Casino in Las Vegas. He’s come a long way from being shot at by the Milano police for painting trains, and artrepublic are thrilled to have his work featured in the gallery. In the words of Andy Warhol, ‘Art is what you can get away with.’, and Aroe just keeps on doing just that.

Aroe

 

Aroe’s work is the refreshing antithesis to the norm of what is usually seen in the art world. He didn’t come from privilege, with a working class background and relatively dysfunctional home life. The medium which he has perfected is technically illegal. He didn’t ask for permission, his works were not projects that underwent multiple revisions and they weren’t planned. He began with cheap spray paint, raw talent and pure tenacity. His success is due to his persistence and his courage, realising from a young age that a can of spray paint was what he was going to work with for the rest of his life. Not letting anyone or anything stop him is part of his legacy and who he is as a person. The work isn’t politicised, romanticised or commercialised. It just is. What his work unintentionally does is break down the barriers between class and art. He didn’t reach his success through lofty connections or an expensive tuition, he simply worked until it came.

Aroe exhibition at artrepublic

It has been exciting to witness Aroe’s artistic development. He secured his position on the streets stylistically with his block type as opposed to the traditional wild style usually opted for by artists. This gave his work – which was mainly his name – readability. He was influenced by types that he saw in advertising, such as the one of the Yorkie bar. The boldness and simplicity suited him, he wanted everyone to see his name everywhere. Aroe used the familiarity that the advertising type to then experiment with form. Putting the letters on a slant, inverting the colour scheme or having lasers cut through the words is now beheld with an acceptability from the viewers. In a way, Aroe lured us into a false sense of security with what we’ve seen before, just to subvert it entirely and make it his own. Influenced by the British b-boy culture in the eighties, hip hop and fashion, these electrify his work with a freshness and an energy rarely seen.

Now Aroe is exhibiting his most recent collection ‘Graffiti Owes Me Money’ at artrepublic Brighton from 29th March.  A celebration of hip hop culture and his own focused style and use of colour. Now experimenting with dimension, shape and geometric lines, the work is futuristically abstract. Dynamic, powerful and beautiful, the pieces have the impact of a graffiti blockbuster and the finesse of fine art. Aroe is merging the world on the street and the often inaccessible art world to produce work that is engaging to a wider audience, and stunning.

If you’d like to attend the Private View of Aroe ‘Graffiti Owes Me Money’ on 29th March at the artrepublic gallery in Brighton, please visit our Eventbrite page for FREE tickets. We will have special limited editions of the ‘Grace Jones’ pieces available on the night, alongside the highly sought after original canvases too.

In true Aroe fashion he’ll also have a 1979 vintage Porsche covered his graffiti parked outside the exhibition, because he can.

 

For more news stories and events visit our Brighton Gallery page

The post Brighton graffiti artist Aroe, exhibition at artrepublic appeared first on artrepublic blog.

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Beyoncé’s make-up artist gave me SUCH brilliant tips, I’m basically now a pro

Luckily, I wrote them all down for you…

Sir John, Beyoncé’s make-up artist and L’Oréal Paris ambassador, started work at 18 on the make-up counter with Mac. Later he was on Pat McGrath’s team working backstage at various fashion weeks, before assisting Charlotte Tilbury, who then introduced him to Queen B. From there it’s all gone a bit crazy. One of his career highlights was when Beyoncé was performing at Coachella and the crowd oogled at the fact that when she wiped her face on a white towel, not a speck of make-up transferred: ‘I call that Teflon make-up’ he says.
When I met him recently, he gave me such amazing tips that I barely had time to breathe, because I was ferociously taking notes. So here they are – Sir John’s tips on how to nail your base, choose the right shades and basically smash your make-up routine…

Base – skin is aspirational

‘For truly beautiful skin increase your heart rate for at least 30 mins a day as it helps with skin turnover. Put your moisturiser on just before you start your base, because you want to put foundation on damp skin. Only apply primer to your t-zone, because that’s the area your foundation lifts from. Always have two foundations – a darker one for summer and a lighter shade for the winter. Take a look at where you do your makeup. Natural light is always better, so if you do it in a bathroom with no light, it’s going to look so different in the real world. Step into the light to see exactly how much coverage you need. You really don’t need to lacquer and conceal everything; embrace you dark circles and veins. And definitely don’t cover freckles – they are hot. You also need two concealers – one for spots, one for dark circles. When you’re doing you’re concealer, beware of the deep V that YouTubers tell you to create under your eyes. It’s way too much product. Don’t use powder. Normal skin is not matte. If you have healthy skin, you don’t need powder. However, if you want to use a bit of powder under your eyes, never use pressed powder. It’s too heavy and dry and will age you. Always go with loose.’

Cheeks – highlighter should stay on your cheekbones

‘Always go for a cool tone bronzer; it’ll stop you looking orange. Highlighters should only be applied to the side of your face. Tap it into your cheekbones, but stop when you get to the eye. You don’t want to see your highlighter from the front – you want that to be a matte blush. Use your lipstick as blusher. Dab a bit on the back of your hand and use a fluffy brush to apply. We don’t contour, we sculpt.’

Eyes & Lips – add a Pritt stick to your make-up bag

‘No matter what your skin tone is, you can wear any colour on your eyes. Don’t use a tinted eyeshadow primer, use a sheer, invisible one so that you can see your natural eyelid colour. The best brow gel in the world is Pritt stick and a toothbrush. It lasts all day and you can still draw on top. A perfectly modern look is to just pop a bit of foundation on and then a red lip. A blue based red lipstick makes your teeth look whiter.’

Tools – don’t hold your brush like a pencil

‘Don’t use foundation brushes, they don’t create a seamless look. Use a Beauty Blender. If you make mistakes with your bronzer or blush, your Beauty Blender that you used to apply your foundation is like your magic eraser. Use a fluffy eye shadow brush to buff in your concealer. A stiff brush won’t blend properly. Fluffier and bigger brushes are more diffused natural look. The tighter the brush the fuller the application. Don’t hold your brush like a pencil hold it at the base for a lighter touch.’

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The post Beyoncé’s make-up artist gave me SUCH brilliant tips, I’m basically now a pro appeared first on Marie Claire.

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Call collect: artist Mark Vessey’s new non-traditional portrait of Norman Cook

The Brighton-based photographer and the international DJ have collaborated on a limited edition artwork.

Back in 2015, the Barbican gallery in London hosted an exhibition titled Magnificent Obsessions: The Artist As Collector, the premise of which was looking at the personal objects and ideas accumulated by contemporary artists, and how they were used by to inspire their work. Artists’ archives were laid bare for us to see, giving us an idea of the motifs and influences of the likes of Andy Warhol, Sol Le Witt, Damien Hirst and Peter Blake. Seen together, and in isolation, the exhibition was eye-opening. Unlikely objects gave us the opportunity to view a highly personal (and in some cases impersonal) side to some of the art world’s most famous figures. Something that occurred to me before I met Brighton-based photographer Mark Vessey for a chat about his upcoming print release at artrepublic – a limited edition collaboration with local (and global) legend Fatboy Slim/ Norman Cook. The link between Vessey and this past exhibition is pretty direct: the local artist’s work has a very clear focus on collections. You could say he is a collector of collections.

'Norman' limited edition print by Mark Vessey ‘Norman’ limited edition print by Mark Vessey

From his first stack, taking Attitude magazine as its subject matter, through The Face, Vogue and Playboy to Penguin books, Absolut vodka and Chanel perfume, Vessey has explored the ideas and aesthetics created by combining thoughtfully curated and carefully grouped objects. There is nothing accidental about these stacks and arrangements – they are all purposeful, considered, layered. But this latest collection is a slight sideways step from previous works. Because, while all his works have been based around an individual’s unique collection, this one feels more personal; very much like a portrait in fact. Perhaps that has something to do with the fact that the figure at its heart is very well known. Rather than an anonymous (to us, at least) collector, this latest exclusive print offers an insight into DJ and producer Norman Cook aka Fatboy Slim, via his archive of vinyl. We wanted to know more about Vessey’s latest project, which launches at the Brighton gallery on 28 November, so we tracked him down between shoots to ask him a few questions.

 

Mark, your work is all about collections – it’s the thread running through your work…

After I finished university, I photographed my collection of Attitude magazine – it felt like a timeline of my own history, coming out, and independence from home – and after that, people started suggesting projects. Like my dad’s friend sent his Playboy magazines to me from New York, then that led on to me shooting stacks of The Face, then Vogue, and then I decided to collect every edition of British Vogue where Kate Moss had been on the cover…

 

Those works seem to be more general, rather than about specific individuals. Can you tell us how this particular piece ‘Norman’ came about?

Basically, ever since I’ve been in Brighton I’ve had an interest in people’s collections. I have a hit list of people whose collections I want to shoot. There are always people that you’re drawn to, and Norman Cook was one of those people. I love music and how it ties into everything culturally, so the whole premise for this was to take a look at Norman’s influences and his collection. I asked him through Lawrence [Alkin, CEO of artrepublic] if he’d like to do a piece, and he came back and said yes. It was 20 years since the original release of ‘You’ve Come A Long Way Baby’ this year, but the collaboration wasn’t about that. It’s not about trying to hype my name up with someone else – this is very much my work. It just happened that the timing was right.

 

The image features a selection of vinyl from Norman Cook’s archive. How much input did he have in the records that are part of the stack?

I went to his house – initially I was going to photograph it there, but then I thought ‘you know what, this is going to be a nightmare’ so I asked him if he minded me taking the vinyl to my studio, shooting it there and then bringing it back, and he didn’t; he’s not precious, which I love. I’d asked him if he would select three boxes of vinyl, and he thought that was quite a lot. But then he spent about two hours going through it and, by the time we finished all the shelves, it was more or less three boxes. It was perfect. It was interesting because when Norman was choosing the records I was peering over his shoulder, going ‘I feel really out of control. Are you picking the right things?’. And Norman was saying ‘That’s the whole point of me picking them Mark!’.

 

Were you surprised by the selection?

It’s was quite an eclectic mix. It’s not just House music: there’s blues, Beastie Boys, The Clash, Donna Summer… It’s not one genre of music, and that’s why I find it interesting. It’s quite a curveball, because normally I shoot very specific groups of things.

 

But the photograph doesn’t show all three boxes that Norman selected, so how did you decide what made the cut? Were you looking at it in terms of the music itself or was it more about aesthetics?

After he gave me the vinyl, I sat there for a week! (A week and a half probably) I turned it into a drama because I’m so emotionally connected to what I’m doing. My friends were telling me to just get the vinyl out and start. When I did, I was looking at what the spines said, how they fit together, how the colour moves throughout the piece of work and then it kind of came together. So, there’s the original ‘You’ve Come A Long Way Baby’ that Norman mixed his version from. He did give me the original ‘Praise You’ but it had nothing on the spine, which was frustrating. I put it in, thinking ‘it needs to be in there’, but then rethought it because no one would know what it was. There are a couple of doubles in there… The Ultimate Breaks & Beats / Various Artists and Bob James. That’s because when Norman was selecting them he told me: ‘When I’ve put in two of them, it means when I was DJing I had them both spinning at the same time.’ I think it was important to respect details like that.

 

Were you tempted to swipe any of the vinyl that Norman selected for you?

I would love to have one of the Donna Summer records, or Prince… but I would never have taken them. My friends all wanted me to open up the boxes for them and play the records, but I wouldn’t let them near it – I don’t think Norman would have been precious about it, but for me, it’s just not respectful to do that.

 

Your typical subject matter – vinyl, books and magazines for example – are analogue products in an increasingly digital world. Norman, as Fatboy Slim, switched over to using digital technology for his DJ sets a few years back. How do you prefer to work?

All my stuff is shot on film, medium format film. I do use a digital camera for my commercial work, but for my artwork it’s all film-based, developed and then scanned. I have friends who have cameras and they treat them like these precious things; mine is pretty bashed around, but then it’s used. It’s such a big camera it makes the work feel really special, more considered; you have to compose it, so the image is not so throwaway.

 

You’re a big fan of documentaries – do you think your work is a form of documentary?  

I love documentaries. I realised recently that my prints are starting to talk to each other. I can have a shot of a stack of House music and one of The Face magazine, and culturally they are part of the same era and time. All of a sudden they are starting to communicate with each other. It’s a thread of our time. I hadn’t really thought about it before, but it’s all about tapping in to a period of time, or a magazine or movement and what it represented. It makes people see it in different way – like how Pop Art enlarges things and they take on a new meaning. An everyday object can be transformed into something that holds emotion; it stirs up memories. This print is kind of like a collision of sounds – it’s got blues, there’s funk in there, House. I suppose that’s what Norman created from. It’s part of his story. I love that they’re talking pieces.

 

Interview by Alanna Freeman

 

For more news stories and events visit our Brighton Gallery page

 

The post Call collect: artist Mark Vessey’s new non-traditional portrait of Norman Cook appeared first on artrepublic blog.

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

We asked the local creative to puzzle out a few of our questions.

The first crossword puzzle was designed by Arthur Wynne and printed in the New York World in 1913, the earliest word search is credited to Spanish puzzle maker Pedro Ocon de Oro in the first half of the 20th century and Sudoku… well that’s got a non-Japanese heritage that goes back far further than the early Noughties brain-training craze. Graphic artist Clive Sefton has created his own play on the soup of letters – the original name for a word search – and it’s one that has the ability to ignite a similar warm, glowy feeling to the one you get after completing an energising workout. We’ll let the artist himself explain that one. As he prepares to host the November artrepublic Kids Club, we caught up with Sefton to talk typography, noticing hidden details, the challenges of long words and all things puzzle-based.

Brighton Word Search by Clive Sefton

 

Word searches, mazes, diamond hunts – all of your artworks are highly structured finished pieces, but also playful starting points. Is there a hidden life lesson in here for us?!

With a background in graphic design, I like clean, minimal design and good use of white space. I also enjoy artwork that people can interact with and that brings a smile to their faces. In creating my work I’ve discovered that finding a word or the correct path through a maze releases dopamine, the reward chemical, so people actually feel better for looking at my work!

With ‘One In A Million’, I love how people can view it so differently. Some people spend ages looking for the diamond, some people almost don’t care where the diamond is, and some people are more interested in the process or how much the diamond cost…!

Speaking of ‘One in a Million’ – how do you decide where to place each diamond? Is it random or incredibly specific?

I place the diamond in a random place in each one, though can position it in a specific place in a commissioned piece. This might be the coordinates of a geographic location or relate to a specific date. Only the person who owns the piece has the coordinates of where the diamond is hidden.

While we’re on the topic of pathways and finding things, can you talk us through your route to becoming a full-time artist?

I did a silkscreen printing course with Jane Sampson. Initially I was printing pictures of prawns and crabs but in exploring what I am interested in, specifically typography and ‘accessible’ artwork, the first ‘Brighton Word Search’ came about.

I did the course just after reading ‘Rich Dad, Poor Dad’ by Robert Kiyosaki and Sharon Lechter so, as well as really enjoying doing the course, I did have this thought in the back of my mind about how good it would be to be able to make back the money that I had spent on it. The difficulty is taking the step to show your work to people you don’t know, as it’s only then that you can tell if people want to buy it.

We’re lucky in Brighton: we have so many opportunities to show our work with little cost up front, and there are so many artists and art buyers around. I first exhibited the Brighton Word Search in an Artists Open House and as well as selling all of the edition, I received my first commission.

Since then I’ve learnt so much and created different work, but I’m still creating Word Search pieces for people of all ages, and across the world.

Your images encourage people to deeply engage with the artwork – to hunt out the details or hidden pieces. What do you find yourself focusing on or looking at closely in art or life?

I love finding faces and animals in everyday life, apparently a phenomenon known as pareidolia. I had an idea a few years ago based on creating images from discarded chewing gum but that hasn’t quite seen the light of day… I also love repeating patterns and grids, whether it be lines on shutters, flyers posted on a wall or even just a sheet of labels!

On the flipside of that, are there any things you avoid focusing on at all costs?

I’m a bit of a perfectionist so many ideas get parked if it’s not quite right.

The longest word in the dictionary is 45 letters long (and a bit of a misery, as it goes) – how big would one of your word searches have to be to hide that monster?! And would you want to work on that scale?

I must admit I had to look up what the word is! A square piece with Pneumonoultramicroscopicsilicovolcanoconiosis it would require over 2000 letters in the complete piece – not too much of a problem for a print, but quite a bit of time to make using fridge magnets.

What is the most complex piece you’ve worked on to date? And can you give us any hints at upcoming projects we might want to look out for?

I’ve just created another word search commission using fridge magnets, which I really enjoyed making. I’m also working on another edition of ‘One In A Million’ as the original was so well received.

Finally, you’re hosting the artrepublic Kids Club in November. As a kid, what was your favourite activity and has it ever come into play in your work as an adult?

I used to really enjoy making small FIMO models that I sold to craft shops for window displays, usually in return for free FIMO!

 

Find out how your little ones can join in with the artrepublic Kids Club.

 

For more news stories and events visit our Brighton Gallery page.

The post Meet Clive Sefton, the Brighton based artist hosting November’s artrepublic Kids Club appeared first on artrepublic blog.

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Wale Claps Back At Shady G.O.O.D Music Artist 070 Shake: “Go Awf, Queen”

Wale Performs at Coda

Source: Hugh Dillon/WENN.com / WENN

Wale wasted no time responding to G.O.O.D. Music artist 070 Shake after she decided to get shady on Twitter last week. Far from the first time the “Black Bonnie” rapper has clapped back, we’re not at all surprised to see Wale wants smoke.

In case you missed it, a fan hit Twitter to suggest a collaboration between Wale, Kid CudiWiz Khalifa, and 070 Shake. Instead of keeping her thoughts to herself, 070 Shake responded: “eh not really feeling the Wale part.”

Wale caught wind of the unnecessary comment and responded,  “Lmao love how u went out ur way to say that . Go awf, queen.” See his tweet below.

After Wale called 070 Shake out, the rookie tried to back her way out of big dawg beef…but it was too late. “You just too fire for me bro feel me, love you” Shake wrote. But Wale wasn’t feeling her, telling the young artist he was “cappin’” and once again referring to her as a “queen.”

In other words…don’t let your mouth write a check that your *ss can’t cash, Shake.

Photo: WENN

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Artist envisions what a Martian mini-house might look like

mars home

Mankind isn’t ready to go to Mars… at least not yet. Space agencies and scientific groups from around the world are working hard towards the day where we’re finally ready to send the first Earthlings to Mars, but once we finally set foot on the Red Planet we’re going to need places to live.

Far in the future, Mars settlements could be a reality, and the first people who choose Mars as their final destination will need homes that are highly functional and, likely, quite simple. Design firm Open Architecture has pulled the curtain back on its own interpretation of what a Mars home could look like.

Continue reading…

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Artist envisions what a Martian mini-house might look like originally appeared on BGR.com on Sun, 7 Oct 2018 at 12:01:06 EDT. Please see our terms for use of feeds.


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