This collection is about certain 'luminaries'. . . all swimming round and round in the same stagnant pool that was 60s London. The Krays, Mandy rice-Davis, Christine Keeler, Princess Margaret, etc.
Artist's note:
Point and shoot 35mm SLR cameras became more widely used in the late 50s early 60s by reporters. Their results captured the immediacy and speed of change of the time. Fleeting fame was captured at higher speeds afforded by those cameras. Consequently photography underpins the look of this collection.
We see black boarders as in a negative frame, we see high contrast in the black and white style of the subjects. There is colour bleed caused by accidents in developing and lens flare colour changes in seemingly random but abstracted ways.
The type writer fonts remind us that not everything was moving so fast and that various scandals were all and only to be found in the newspapers of the day. The capital letter fonts mimic those used in the headlines found luridly screaming from the news tabloids on newsstands.
The composition is meant to reflect the government’s attempts to retain a semblance of order in the face of upheaval and in the full view of the public witnessing an entertaining chaos.
This collection is about certain 'luminaries'. . . all swimming round and round in the same stagnant pool that was 60s London. The Krays, Mandy rice-Davis, Christine Keeler, Princess Margaret, etc.
Artist's note:
Point and shoot 35mm SLR cameras became more widely used in the late 50s early 60s by reporters. Their results captured the immediacy and speed of change of the time. Fleeting fame was captured at higher speeds afforded by those cameras. Consequently photography underpins the look of this collection.
We see black boarders as in a negative frame, we see high contrast in the black and white style of the subjects. There is colour bleed caused by accidents in developing and lens flare colour changes in seemingly random but abstracted ways.
The type writer fonts remind us that not everything was moving so fast and that various scandals were all and only to be found in the newspapers of the day. The capital letter fonts mimic those used in the headlines found luridly screaming from the news tabloids on newsstands.
The composition is meant to reflect the government’s attempts to retain a semblance of order in the face of upheaval and in the full view of the public witnessing an entertaining chaos.
The Darling Letter, sold
60cm x 76cm, acrylic, ink & crayon on wood panel
Tea for Two, sold
61cm x 91cm, acrylic, ink & crayon on wood panel
Les Jolies Eaux, sold
50cm x 50cm, acrylic, ink & crayon on wood panel
Murray's Club 1963, sold
61cm x 91cm, acrylic, ink & crayon on wood panel
Mr George Stanley, sold
50cm x 50cm, acrylic, ink & crayon on wood panel
1 Eaton Square, sold
50cm x 50cm, acrylic, ink & crayon on wood panel
Million Pound (Bruce Reynolds), sold
16cm x 12cm, ink on cotton rag paper.
Cliveden (Ms Keeler), sold
16cm x 12cm, ink on cotton rag paper.
Mug (Ronnie Biggs), sold
16cm x 12 cm, ink on cotton rag paper.
Jones, sold
16cm x 12cm, ink on cotton rag paper.
Retreat (Princess Margaret), sold
16cm x 12cm, ink on cotton rag paper.
Society, sold
16cm x 12cm, ink on cotton rag paper.
The Twins, sold
16cm x 12cm, ink on cotton rag paper.
Morals, sold
16cm x 12cm, ink on cotton rag paper.
Affair (Mandy Rice), sold
16cm x 12cm, ink on cotton rag paper.
Satisfaction, I Can't Get No (Princess Margaret), sold
16cm x 12cm, ink on cotton rag paper.
Mandy (Mandy Rice), sold
16cm x 12cm, ink on cotton rag paper.