Narrative beats: Bonnie and Clyde shares the stories of her art

From gritty cities to making art with historical geniuses, there are many layers to the artist known as Bonnie and Clyde.

Bonnie and Clyde exhibition

Seamlessly stitching together personal photographs with painted, printed and textural elements, Brighton-based artist Bonnie and Clyde creates surreal dreamscapes that are subtly layered with deeper meanings and secret stories. Ahead of her biggest exhibition of originals in Brighton to date, starting 14th September 2018 at the artrepublic gallery, we delve into the artistʼs work to discover the processes and places that inform her meticulously crafted worlds…

Starting at the beginning, why did you decide to work under a pseudonym, and why opt for ʻBonnie and Clydeʼ?

Well it’s for a number of reasons, and it changes significance on different days. Today’s answer is that when I started out I felt like it was a darkly romantic and ambiguous name, and I was hoping the work could be seen without preconceptions such as gender. I could hide behind the misconception that it was two people making the work as I was a nervy character at that point.

You work out of a Brighton studio, but your images evoke warmer climates. Do you feel more of an affinity with foreign landscapes?

I do love to see new places and I need an element of spontaneity as I have a lot of stability and routine in my life. I get real wanderlust and need to see things from different perspectives to re-engage with myself. It’s not necessarily about warmer climates – it’s more wherever I get to go on holidays or trips. I loved visiting New York, Tokyo and Iceland as much as LA and Italy. I like to mix the beauty with the grit. It’s kind of building a dreamscape subconsciously so I understand what I want from life.  

The photos you use within your work show all sorts of locations, spaces and environments. What kind of places inspire you?

I think I like to visit places with a strong life force or culture. Often it’s about the people or environment – their energies excite me. I get freaked out by old distressing places that seem to have been home to misery, but I also find desolate places fascinating; I am drawn to photographing places where there is stagnant energy – I don’t know why. Maybe I’m trying to give the place some energy back in a way, or can feel it in a latent sense. My favourite cities have always been by the sea though; I feel like the sea is a leveller – it’s meditative. I also love the architecture and colours of a place. And food and music play a massive part too.

The more time spent looking at your collages, the more we find within them. Have you ever hidden a secret message in your work?  

Yes sure, I think there are many hidden meanings for me, but often I don’t recognise them myself for a while. A lot of pieces have an element of love and loss, fear and freedom. There was this amazing chalk rant/ statement on the ground in Venice Beach that began: ‘THIS IS NOT A GOOD MORNING MR PRESIDENT OF THE UNITED STATES. ANOTHER BLACK MAN PUT TO DEATH. 7 OUT 9 WITNESS RECANTED THEIR TESTIMONIES. NO WEAPON, NO BLOOD SPLATTER, NO POWDER RESIDUE FOUND. GEORGIA WEEPS…’ It was so impassioned and moving, and someone from the government was washing it off with a hose. That was the starting point of my piece ‘Recreation’.

Off the back of that, with so many layers within your pieces, how and where do you begin?

If I need to kick-start a piece, I’ll look through my photo library and pick something that jumps out at me. I often think ‘Oh, I’ll do a piece on Italy’, then I’ll end up with a pic that I’ve wanted to use for ages but from New York or somewhere. That’s it… no turning back; I just follow my feelings and mood and see where it takes me in the first days that I’m working on a piece, until it becomes something. Then it’s a matter of honing it; painting, layering and giving it life until it feels complete.

It often feels like there are secret stories and threads woven into and through your images…

Yes, I think its all one long thread of discovery. It’s cathartic; maybe once a problem has been solved the story shifts. I had a lot of phobias in my past, and as they are released my work changes too.

You use a range of different mediums but, if you had to only work with analogue or digital…

I definitely need both please! If pushed for only one though, it would have to be analogue; there’s more warmth and life. It would be a cold hard world with digital only. I often work by trying to make digital feel analogue and vice versa.

Your work has a very distinct aesthetic and colour palette. Have you always worked in this way?

I think I have various ongoing sections of work that I dip in and out of. They have developed in a timeline since university; I studied 3D design at Kingston Uni with a focus on furniture and lighting, and used to do paintings and collages of all my designs for the course work! When I left uni I moved into graphic design, producing work for arts venues, club nights and festivals. Then, through my partner who was a music and arts journalist, I began photographing numerous musicians and artists for magazines and newspapers, which took me to great locations as well as immersing me in Manchester’s incredible nightlife/ gig culture. After all this, I got the screen-printing bug after seeing a fantastic Warhol/ Basquiat exhibition, and started a clothing design business alongside all the other aspects of design I was working on. When I moved to Brighton I started screen printing myself and then I brought my painting and photography back into the work.

It does feel like a journey. I would like to get more involved with food and music – it’s all part of one creative path, all making stuff with your hands.

Tell us about the work you’re exhibiting in your show at artrepublic.

As well as series of small, light-hearted collages and studies that will be shown together on one wall, I’m releasing two special very limited edition prints. Printed on anodised aluminium, they are architecturally heavy images adapted from a series of small originals I made a couple of years ago. One, titled ‘BBQ Heart’, originated from a merging of buildings that I photographed as I was leaving Las Vegas. I wanted to do something with it for a while; printing it onto aluminium and playing with glitter and glazed elements against pops of colour excited me. The other piece was adapted from a few photos taken in Mexico. The colour is the main player here too. Both are quite romantic pieces.

You’ll also see a recent, joyous print release called ‘The Soundscape’, which has a summery vibe. It features elements from a friend’s life, including architectural, musical and performance-based images, which are painted and spliced together with flowers and buildings shot during a trip I took to San Francisco and LA.

Finally, as your pseudonym is a dynamic duo, who would be your dream collaboration?

So many people, but it needs to be someone who likes to collaborate to start with! I’d say: Faile, for their sense of scale, composition and fun, Andy Warhol and Basquiat for obvious reasons… I’m also a fan of film directors such as Wim Wenders, Darren Aronofsky, Pedro Almodovar and Spike Lee, as I think their creative vision is amazing. What about a night out with The Kills, Jehnny Beth, The xx and my friends? Is that classed as a collaboration? Otherwise, take me to New York’s late 70s and early 80s No Wave scene with The Velvet Underground and Nico – I’d love to make art/ some noise with those geniuses.

 

Bonnie and Clydeʼs solo show will be at artrepublic Brighton from 14 September 2018.

 

For more news stories and events visit our Brighton Gallery page

The post Narrative beats: Bonnie and Clyde shares the stories of her art appeared first on artrepublic blog.

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(MOSCOW) — With Vladimir Putin watching from the stands, France won its second World Cup title in a match that was interrupted by an on-field protest during the second half that Russian punk band Pussy Riot later took credit for.

Nineteen-year-old Kylian Mbappe became only the second teenager to score in a World Cup final, helping France beat Croatia 4-2 on Sunday.

Mbappe had just shown his electrifying speed in the 52nd minute when play was held up by four protesters. About 12 minutes after play resumed, Mbappe sent a right-footed shot past Croatia goalkeeper Danijel Subasic.

The last teenager to score in a World Cup final was Pele, who scored two when Brazil beat Sweden 5-2 in 1958.

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A Minnesota student who viciously beat a Black teacher was released without bail Thursday after a court hearing.

Corey David Burfield, 18, of St. Paul, was charged with one count of first-degree assault and one count of third-degree assault in the violent beating of school aide Mohammed Dukuly on Tuesday (May 22) at Harrison Education Center, an alternative high school in Minneapolis.

District Judge William Koch determined that Burfield, who is white, was not a flight risk during the student’s appearance in Hennepin County District Court. Burfield was allowed to walk, only having to submit to electronic home monitoring and keeping away from Dukuly. The student also is required to meet with a mental health professional, the Minneapolis Star Tribune reported.

Burfield’s case mirrors that of several white males who get slaps on the wrist for violent crimes because they are seen as “lone wolves” or mentally unstable individuals. Verdicts such as Koch’s are often offered as examples of White males using privilege to get leniency.

Though Dukuly made a miraculous recovery, the fact stands that he was still brutally assaulted. The decision to release Burfield without bail didn’t sit well with the teacher’s family.

“Quite frankly, we are disappointed,” Imam Mohammed Dukuly, the victim’s uncle, said. “For a serious case like this, I think he should’ve been on bail.”

The scary incident involving Burfield and Dukuly also sheds light on a turbulent and disturbing history of assault at Harrison. Several violent events between students and administrators have occurred as community members have complained that special needs children’s issues have gone unaddressed, the Star Tribune said.

Dukuly’s assault may also further conversations about special education, with stronger efforts for improvement across the nation.

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Lots of explosions, throwing bad guys against walls and through windows, heavy drinking, and photography. You know what all this means? Jessica Jones Season 2 is coming — and Netflix just dropped the first teaser for it, along with the premiere date!!

If Season 1 of the series was all about Jessica beating up and taking down bad guys…Season 2 is basically the same thing. And that’s a good thing! But this time around, Jessica is now dealing with some pretty heavy stuff, namely one named Kilgrave. Yes, Kilgrave again. If you remember correctly, in order to save herself (and her best friend, Trish, and also all of New York City) Jessica snapped his neck at the end of Season 1. That decision is still weighing heavy on her when we pick up for Season 2. Even though she’s starting to put her life back together, she can’t shake the choices she’s made in the past.

Oh yeah, and also the ghost of Kilgrave is following her around. Normal stuff.

And, on top of that, Trish is urging Jessica to look into her past because, “knowing what was done to you might help you.” Jessica doesn’t think that’s a good idea, or even a reasonable one, and as she replies, “what if facing it makes it worse?” Knowing how bad it’s already gotten for Jessica, can it get much worse? You know what, probably. At least her three two other super friends aren’t along for the ride this time.

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Mark your calendars and cancel your plans, Netflix has Jessica Jones Season 2 slated to drop on March 8th, 2018. Time to start stocking up on killer leather coats and well worn combat boots.

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Smith’s close-range birdie in the playoff secured his first European Tour title in his 25th event.

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‘Alien: Covenant’ Just Barely Beats ‘Guardians’ At The Weekend Box Office

LOS ANGELES (Variety.com) – As this weekend approached, the question lingered if “Alien: Covenant” would be able to unseat “Guardians of the Galaxy Vol. 2” from the top spot at the domestic box office.

Now, we have an answer. As of Sunday morning, “Covenant,” from 20th Century Fox and Scott Free Productions, looks to be the winner with a three-day estimate of $ 36 million (27.6 million pounds) from 3,761 locations. That’s just above Disney’s “Guardians” sequel which is raking in an additional $ 35.3 million from 4,347 spots. The super sequel is seeing only a 46% drop from last weekend, and its total domestic earnings now exceed $ 300 million.

While “Alien” may have won, the film’s price tag in the $ 100 million range and marketing costs detract from the victory. The sixth installment in the Alien franchise (not counting the two Alien vs. Predator films) was directed by Ridley Scott and stars Michael Fassbender, Katherine Waterston, Billy Crudup, and Danny McBride. It holds a 73% on Rotten Tomatoes, which is in line with 2012’s “Prometheus.” Although it came in already having made $ 42 million overseas and $ 36 million was enough to land in the top slot, “Alien” grossed less during its first weekend in the U.S. than “Prometheus” did in 2012 ($ 51 million). Its final domestic earnings also came in below earlier projections, which pegged the horror flick at least $ 40 million.

Fox’s president of domestic distribution Chris Aronson chalked the lower totals compared with “Prometheus” to the “normal course of business.” He added that “Alien: Covenant” gives fans of the franchise since the 1979 original the chance to share with the younger generation (60% of the opening weekend audience was in the 18-34 demo). “Teenagers likely haven’t seen ‘Alien,’” he said, “This movie creates a generational bond.”

While the “Alien” franchise is still able to generate decent interest, the same cannot be said for Fox’s other release this weekend, “Diary of a Wimpy Kid: The Long Haul.” The fourth live-action movie based on Jeff Kinney’s middle school-centric book series opened to $ 7.2 million from 3,157 locations. David Bowers, who directed movies two and three, returned to the helm nearly five years after the last iteration, and anointed a new titular wimp in Jason Drucker.

The only other major release of the weekend was “Everything, Everything,” from Warner Bros. and MGM. The sick-lit adaptation will earn $ 12 million by the end of the weekend from 2,801 locations. That’s enough to land in the top three. “Hunger Games” standout Amandla Stenberg stars as a girl with an autoimmune disease that keeps her locked up indoors. Nick Robinson plays her love interest named Olly. “Everything, Everything” earned the highest CinemaScore of the new released (an A- overall). 82% of its audience was female, and 74% were under 25 years old.

“Along with our partners, MGM, we’re thrilled that we hit our key demo,” commented Jeff Goldstein, domestic distribution chief at Warner Bros.

Amy Schumer’s “Snatched,” also from Fox, will see an additional $ 7.6 million in earnings from 3,511 theaters, putting it in the fourth slot, ahead of “Wimpy Kid.” Also in its second weekend, “King Arthur: Legend of the Sword” continues to flop miserably with a weekend total of less than $ 7 million.

With Memorial Day weekend on the horizon, the overall domestic summer box office is ten percentage points lower than it was at this time last year. That means all eyes are fixed on a duo of splashy summer releases ― Disney’s “Pirates of the Caribbean: Dead Men Tell No Tales” and Paramount’s “Baywatch” ― to hopefully make up some ground.

“The dominance at this point by Disney and Marvel’s early summer entry “Guardians of the Galaxy Vol. 2” is impressive having earned more than all the other films combined,” said Paul Degarabedian, senior media analyst at ComScore, who noted that “Captain America: Civil War” accounted for more than half of the summer take at this point last year. “However, a slow start does not portend a slow overall summer as many have predicted,” he added, “though if the ebb and flow of this season’s fortunes thus far is any indication we may have to buckle up for a pretty bumpy ride.”

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Bosley Beats the Burglars

Bosley Beats the Burglars


This story is about Bosley the West Highland White Terrier who lives with Mr. and Mrs. McTavish in their sunny Bed and Breakfast in the Highlands.He looks adorable but is really a monster in disguise. Everything is a new experience and must be tried, never mind what turmoil follows.He plays with Mrs. McTavishes clean laundry in the garden, until it is dirty and torn, eats a Ferrari, steals special chocolates and sweets, and sharpens his baby teeth on Mr. McTavishes shiny new shoes reducing the leather to shreds.He even turns himself purple. This happens when one of Mrs. McTavishes guests, a little boy, is painting in the garden, Bosley, who is bored, bathes in the dripping paint and Mrs. McTavish mistakes him for a dangerous animal who is there to eat her baby chicks. A fight follows between the mistress and the dog ending up in the garden pond. The guests at the Bed and Breakfast either love Bosley, or disprove of him, but he has his own special way of making them love him in the end.Mrs. McTavish adores Bosley even though he causes her no end of problems and embarassment, she also has to become a talented footballer in order to save Bosley from injuring himself with a heavy iron and destroying the kitchen.Mr. McTavish is not quite so willing to forgive and forget. There is the threat of making him wear a muzzle and always the threat of sending Bosley back to the kennels in disgrace. It is fun to watch the deveolpment of the relationship between Mr. McTavish and Bosley.Bosley does however have a good side, this involves the rescue of Wedgington Charles, a heart to heart talk with a lonely girl, and his best trick of all, he eats Bank Robbers!

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