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Welcome To The Gallery

Gallery 1. Street Art Retrospective (2008 / 2009)

Gallery 2. Present Day

Interesting series this. I remember getting into an argument with a policeman, over the death of Ian Thomlinson, the newspaper seller killed by being pushed over by a riot police, and in an act of defiance of authority, more a claim of self authority, fearlessness born of anger, to begin with, I went on a stencil spree in Shoreditch and absolutely hammered it with my own self portrait. None of this anonymity crap, I plastered my own face across the town and signed it with my surname. On reflection, I must have been feeling pretty agitated. Then it just became fun. Predictably it resulted in a couple of commissions and a group show at Brick Lane Gallery. The revolution will most definitely be commercialised. How else are we all going to buy into it?

DICY. This persona managed to generate on the edge of preferable situations on a continuous basis. Always Dicy. The symbol is profound though. It relates to fate, the game of life, to premonition, cubism as a method of perception, seeing a situation from all sides simultaneously, to Truth. Thats one of the things I like about street art, the ability to communicate intelligent and challenging ideas through what appears to be vandalism and low level criminality.

You can find a few more of my street pieces from this time documented in the book London Street Art Anthology, published by Prestel.

I was doing these in October 2008. The dice, a 1 on each side. Fate, Destiny, Joss. The Unlosable Game of the Gods, but the precarious and dicey game of man. The futures bright. The futures Dicy. At the time I was working through the problem of how to become a successful artist. Look at the wall. The problem, the obstacle. Save a life. The intention. See the big picture. The Way. That was the message from Self to Self, the idea of saving a life. Humanitarian Intervention Art. Conceived. Against a wall in an alleyway in Shoreditch.

Read it carefully. One for JMB.

AU found an unlocked bike late at night. Wheeled it off, painted it Gold, returned it. This photo was taken about a month later. Only in Shoreditch. AU had an impacted wisdom tooth that week

AU wrote poems, often Haiku, and transforms material objects into Gold. What changes.
Foundry Bar. Rise again good Phoenix

Her name was Ima Doll. Dancer from the White Horse, Shoreditch

OMG I just found this photo of a front cover for a Halloween edition of VICE magazine. I wonder if they still have that copy? They still owe me fifty sheets for it. Cheeky fuckers. :)

Old Street London 10th April 2008 Which brings us to where we are now

2010 / 2011 Yearbook One (example shown in private collection) A5 size. Various covers 300. At the time of writing (18th June 2012) Im in my summer break from Sheffield Hallam Uni where I am studying a fine art degree. This image is the cover of one of my yearbooks, a 200 page documentation of all my work in the first year of art school. It was the sale of these yearbooks that generated most of the first 25 Good Deeds. I have 6 of these Yearbooks left, from a series of 4 print runs totalling around 60 copies. I was re reading one in the bath the other week and was surprised at how good it was. I was going to produce a book every year, but The Good Deed Book has become a main focus, so I put the yearbook idea on the shelf. I will, however, at least I fully intend to, produce a book detailing all the work and occasional drama of the full three year University experience. This wont happen till after I graduate though, and then Im in no hurry, so I sometime in 2015 or 16 I guess. I might even wait until its taken up by a proper publisher. These first editions of year one are hand bound, raw, and unique.

Ten movements in space and time 100cm x 50cm Acrylic on canvas 800

This is a data graphic painting, that being a representation of information or statistics in a visual form. The black and white lines are timelines, two years each, making 100 years. Each of the circles represents an art movement of the 20th century, placed in the timelines it occupied. The diameter of the circles represents the duration of the movement.* The sector the circle features in suggests whether the movement was aesthetic or conceptual or both. The circles move closer to white in colouration, as the spectrum of art increases, and in doing so, comes closer to purity and truth and absolute realisation. I would like to create a series of these data graphics, they are an interesting meeting of art and mathematics. In a society somewhat obsessed with data and information in quantities that are unprocessable by our own minds, it pleases me to create beautiful and interesting paintings that hold data in a way that is both humanly readable and aesthetically pleasing. Ten movements in space and time is listed at 800 I will however give a 22%** discount to any buyer who can tell me the names of the ten art movements depicted.

*This is an inexact science, art movements dont really end, they just blur into the next, or sometimes evolve into the next, or just continue to exist and exert their influence or not on the rest of art history. Sometimes they dissolve and become part of the flavour and body of the soup. ** I was assessed on this painting by the tutors at SHU. I received a low end Desmond.

Middle class existentialism hits rock bottom Acrylic and pencil on canvas 40 x 50 cm 333 Good Deed initiated to be for the benefit of an Upper Class person I painted this whilst watching Grayson Perry, In The Best Possible Taste, on TV. Its got quite a few little quotes from him written on it, and a handful of insights relating to identity and class and other random thoughts that came into play whilst watching. Its an OK painting, in my easy freestyle flavour, would probably benefit from framing, and is suitable to adorn the walls of any middle class habitat regardless of the colour of the sofa. Or the settee.

Move In Masonry paint and oil paint on MDF Panel 100 cm x 100cm Commissioned by Shefletts GD 99 Commissioned by a letting agents, I wanted to create the feel of movement, somehow representing the concept of moving in, but at the same time, creating a piece that worked as an art object, and had a context of abstraction and optical imagery, whilst simultaneously acknowledging the commercial sector sponsoring its creation. Using masonry paint, raw MDF panel, visible nails, the honesty of the materials provides a literal contextualised frame for the more traditional oil paint to draw the eye and mind of the viewers further into the painting, and thus the future, and potential, opportunity, expansion, newness, a pleasing unknown.

Lucy Power Oil on hardboard Collection of the artist Just a couple of nice paintings I did, theyve been decorating my home, theyre not for sale but I guess they are really.

Chatting to Miro Emulsion on hardboard Collection of the artist

Homage to Lucio Fontana #1 Acrylic on Linen 45 x 60cm 500 Commissions from 500 - 5000 Lucio Fontana cut and slashed canvases, and created the art movement of Spacialism, attempting to take art beyond materials, beyond the space, beyond time even. A vision for all encompassing art. Art as everything, and everything as art. These paintings continue that vision, and pay respect to the artist, who is, Im sure, still cutting windows in the fabrics of space and time to engage with new dimensions of reality. But unlike Lucios slashed canvases, in this homage series, the slashes and cuts are themselves painted. A painting of the space between two places, perhaps the past and present, perhaps this life and the next, a painting of the ideas that Lucio himself was exploring and expressing. And when each one is sold, it reaches out beyond the surface painting with a humanitarian intervention. The effect of the painting is the intervention, the art is the sum of the consequences that ripple across time, into the future, the World moved a fraction more into the light. Lucio Fontana's influence still holds sway. Great Artists never die. They just move studios.

Another Old Master Oil on cardboard with antique frame 29 x 39 cm 550

Summer Oil on SRA3 Wooden Panel as front cover for The Good Deed Book 1- 60 Private Collection Initiated Good Deed 82 FAB.

Internal Landscape Oil on MDF Panel Size as shown 4500 framed and delivered To be displayed landscape orientation An action painting, of the abstract expressionism genre. A transference of emotion and life and energy into paint on panel, a fight, the strikes scourging their marks into the material surface.

Autotelic Product #1
Autotelic describes a system that self proliferates. The Good Deed Book is autotelic, as is life itself. Ive been trying to conjure up more autotelic artworks. Art that expands every time is changes hands, art that generates humanitarian interventions each time its sold. Its a long term concept, but I see no reason for it not to work. The artwork gets physically bigger and bigger, and the interventions it generates get bigger and bigger and more and more numerous. Its a bit complex, but not very, and its also designed to make a financial profit for everyone involved. It would be a ponzi scheme, with an inevitable collapse, but it isnt. This is because the value of the piece genuinely increases each time its sold. Its value increases because each time its sold another physical artwork is added into the collective Product. Also, each time its sold, another Humanitarian intervention is actioned and documented.

Autotelic Product #1 Primary Piece. Oil on canvas. 15cm x 15cm x 4cm

So its documented history and its physical presence increase with each sale. Therefore its value increases. QED. This Product is art, and also a representation of a financial product. It has an operating system, the terms and conditions by which it progenates. It will be advertised in every subsequent edition of The Good Deed Book gallery, and its progress documented here. The arrangement describes the process, it is not a contract, but an expansion, and it works as follows.

Arrangement for Autotelic Product #1

Each time it is sold, another piece is added to it. So the single Product becomes a diptych, then a triptych, then a 4 set, then an arrangement of 5, 6, 7, right the way up to becoming a collection, then an installation, then an entire exhibition, expanding without end. The system Autotelic Product #1 is considered to be a single artwork, a collective singularity comprising of many components. Each time the Autotelic Product artwork is sold, the artist receives a H.I Royalty payment of 100 or 10%, whichever is the greater. This Royalty is paid by the buyer in addition to the sale price of the product. At least 50% of this Royalty is used by the artist to action and document a Humanitarian Intervention. The postage / shipping costs are to be paid by the seller from the profit they make from the sale. Documentation of the Humanitarian Intervention will be provided to both the seller and the buyer each time the Autotelic Product is sold. A compilation of the Humanitarian Interventions will be kept by the artist. This compilation will be made available to any and all of the holders past and present at various intervals. Autotelic Product #1 is always for sale. The holder of it must relinquish it if an offer is made for its purchase according to the pricing table. Each holder is required to make a net financial profit from the sale. The minimum length of time a holder is entitled to keep the Autotelic Product #1 before being required to pass it to the next buyer is 30 days. All parties agree to act in co operation and collaboration for the benefit of the Autotelic Product #1, that being the expansion and proliferation of itself.

Pricing Table For Autotelic Product #1

Sale Number Minimum Sale Price 100 (Purchased from Artist) 150 250 350 450 550 650 750 850 1000 1500 2000 3000 4000 5000 Artists H.I Royalty na 100 100 100 100 100 100 100 100 100 150 200 300 400 500 Total Sale Price (minimum) 100 250 350 450 550 650 750 850 950 1100 1650 2200 3300 4400 5500 Number of component artworks in collection (The Product) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

After 15 sales, the price is released to the Market Value, that being what the buyer is willing to pay and the seller is willing to receive. With every sale, and without limitation, the artist receives a 10% H.I Royalty, and will action and document a Humanitarian Intervention. In addition, with every sale, without limitation, the artist shall provide an additional artwork into the expanding Autotelic Product #1 collection. A copy of this pricing table and arrangement shall be provided to every buyer with the Autotelic Product #1 artwork. Thats basically it. In the event of dispute or confusion we can work it out like grown ups.

These two come as a pair. Oil and graphite on canvas. The title of the diptych is Not For Sale. Each painting is 40 x 30 cm approximately. They have a price tag of 25,000 for the brace. The Good Deed they initiate is an iconic Humanitarian Intervention. The saving of a persons life. Documented on film.

Arrangement # 1
A text based piece, it does what it says. The Humanitarian Intervention will be documented entirely as a painting, and that painting presented to the buyer. Arrangement painting (shown) 15cm x 15cm Oil on canvas 800

Humanitarian Intervention documentation painting 100cm x 100cm Oil on canvas Free


PERSISTENCE IS FERTILE Oil on canvas 100cm x 100cm 1000 Made to order Price includes delivery in UK I have one of these. I recommend them. Screenprint may be available. Prices and dimensions on request.