“The beauty of nature is unsurpassable. Nature is the essence, the source and the inspiration to create.” –
Conrad Jon Godly.
JD Malat Gallery is pleased to present NEVERTHELESS, a solo exhibition bringing together a new body of work from Swiss artist Conrad Jon Godly. Born in Davos, Switzerland, Godly is always seeking to capture the essence of his surrounding environment.
The exhibition represents a return to Godly’s favourite subject matter: the awe, terror, beauty, and suspense of the mountains. Godly has titled this exhibition in defiance of those who seek to pigeonhole him; yes, he has painted many mountains before, nevertheless, not one is the same, and this show presents a refined and powerful rendition of these phenomenal gifts of nature.
Godly’s unique style is caught between abstraction and representation. His paintings are never illustrations of specific mountains, instead his paintings are the product of his memory. In this way, Godly seeks to capture the emotional relationship that he has with them, creating paintings with a tangible quality; the ridges are deeply felt, the drops are sheer, the paint falls from the canvas. Godly breaks the boundary between object and viewer, letting the paintings burst into the physical space of the gallery.
From afar, the paintings appear photographic, with their realistic depictions of reflections on pure white snow. This is because of the 17 years Godly spent as a photographer before turning to the brush, which has gifted him an innate knowledge of light and composition. As a result, he gives light priority in his painting, masterfully manipulating the paint to give the impression of blinding sunlight or total darkness.
Godly’s understanding of nature’s essence allows him to create a narrative that becomes progressively darker in this exhibition. Firstly, there are his paintings of light. These canvases are his most photographic, flooded with blue and white; light emanates from the pictorial plane – focusing on hope. Secondly, there are the canvases concerned with mist. These works deal mostly in more pastoral greens and greys, split by a ravine that rushes through the centre. Finally, in his night paintings Godly revels in the theatrical nature of the mountains, lacing the thick paint with fear and danger.
Because Godly is constantly driving toward the essence of nature, his work presents a means for meditative contemplation: “My work is very meditative. That is the most important factor. And I work very fast,” he says. As Philip Maier states in ‘Conrad Jon Godly, Works +-’, “internalising these mountains has been the painterly exercise [Godly] has submitted himself to”. In internalising the mountains, Godly gets closer to his goal, and finds purpose for being.
“I think the search for the essence is an eternal search,” Godly says, “...maybe it is also the search for the self, and this constant search until death is maybe the meaning of life.”
The pandemic has solidified his devotion to the mountains, convinced of their necessity. “I made a break and I took time to think deeply about our world, our society, the politicians... how humans destroy our planet. In these difficult times people are longing for real things.” In contrast to politicians, Godly suggests a mountain is always true to you, eternally, indestructibly.
Godly is in the collections of the Swiss National Bank, Switzerland, the UBS Bank, Switzerland, Credit Suisse, Switzerland, Julius Bär Bank, Switzerland, DAROS collection, Switzerland, and the GKB (Bank Carton of Grisons), Switzerland.
CONRAD JON GODLY
18 November 2020 – 9 January 2021
Exhibition Opening Hours:
Monday – Friday, 10am – 6pm
Saturday, 12pm – 6pm
JD Malat Gallery, 30 Davies St, Mayfair, London, W1K 4NB
Bryce Watanasoponwong is a Thai-Australian artist with a passion for combining street photography and abstract art to create compositions that layer textures. He notes: “I love to explore surroundings most people pass by without ever noticing—worlds of daily lives that, upon closer inspection, open into stories of perspective.” The rippling water and sequin curtains are amongst his varied subject matter, where colours and shapes are seen close-up, obscuring the view and transforming the context of the image. The works shown here are from The Colours of Emotion series.
Bryce has participated in numerous exhibitions and art fairs in Asia, Australia and North America. He made his first US sale in May 2019 and donated the proceeds to The Association of Community Employment Program for the Homeless. Early in 2020, he gave a personal interview for Australian Broadcasting Corporation (ABC) TV’s The Mix, which featured him and his photography, broadcast on Saturday, 14/03/2020 (https://iview.abc.net.au/show/mix/series/0/video/NC2016H008S00). In August 2020, he received an honorary mention in Life Framer’s STREET LIFE (https://www.life-framer.com/street-life-2020/), judged by the legendary conceptual documentary photographer Philip-Lorca diCorcia.
“Brilliantly framed on the streets of Dhaka, Bangladesh, Bryce’s poetic street story plays out in gorgeous primary colors picked out by the setting sun. A construction worker laughs with a police officer as a bus passes by, and the central subject catches our eye. It feels wonderfully illustrative of a place – ordered chaos; busy, vibrant beauty – and of the complexity of life as elements momentarily align before fragmenting off in all directions once again.” – Life Framer
Since then, he has exhibited his work once again at Eat Me Art Restaurant (https://www.instagram.com/eatmerestaurant/), Bangkok, Thailand—this time, a select edition from The Colours of Emotion series
And, from 22/10/20 to 31/10/20, he will exhibit his work at the second edition of Venice Photo Lab (https://www.venicephotolab.it/artists-2020/) in Venice, Italy. https://www.youtube.com/watch?v=GtBy_BSwZco
Up next is his participation in The Other Art Fair, Sydney, Australia. (https://www.saatchiart.com/theotherartfair/sydney-mar-2020/1309169)
JD Malat Gallery is honoured to present Atonal Drift, a new body of work by one of Turkey’s leading emerging artists, Zümrütoğlu.
In October 2020, Atonal Drift will bring together Zümrütoğlu’s highly expressive paintings and sculptures in an attempt to demonstrate how the artist explores the theme of the ‘dissonant and disharmonious body’ and the possibilities of figurative abstraction across different mediums.
The title of the exhibition, Atonal Drift, marks an extension of the progressive thinking first expressed by Austrian-born composer and painter, Arnold Schoenberg (1874-1951). ‘Atonality’ has been understood as a conscious attempt to avoid traditional harmony in music. Taking on the broadest sense of the term - as deviation from traditional structures and integral frameworks of different practices - ‘atonal’ in Zümrütoğlu’s new body of work denotes his ability to challenge the conventions of figurative painting to express a dissonant human form, while ‘drift’ demonstrates his shift from the canvas to sculpture.
Informed by Western literature, philosophy and music, Zümrütoğlu’s work to date has engaged with the darker side of human existence. With swirling strokes and splashes of thickly applied paint, Zümrütoğlu presents figures whose corporeal boundaries are pushed beyond their limits. Such twisted and visceral forms mark an expression of Zümrütoğlu’s contemplation of the darkness of humanity and bring to life what he calls ‘the disharmonious body’.
The dynamism of colour and fleshy painterliness which first captivated Zümrütoğlu’s audience through his paintings, is now offered to the viewer through his new sculptural work. After a visceral shock, or being hit ‘in the gut’ as Zümrütoğlu often states, one begins to see figures slowly emerge and materialise through the thick paint and ceramic forms. A careful encounter with these works will alert the viewer not only to the baseness of human nature, but also our desire to search for harmony amongst chaos. Engaging the viewer through painting and sculpture, Atonal Drift is a theatrical celebration of the best and worst of humanity in every sense and emotion.
The diverse range of work on display will enable the London audience to appreciate why Zümrütoğlu has caught the eye of a global audience as well as collectors from Turkey, France and Germany. Notable collections of Zümrütoğlu’s work include Istanbul Modern Museum, Turkey and Elgiz Museum, Turkey. Zümrütoğlu has also exhibited across the world in galleries such as Pilevneli Gallery, Turkey, Tammen & Patner Galerie, Germany and Galerie Ivan Ptakhine, France.
JD Malat Gallery specialises in contemporary art and champions a broad spectrum of emerging and international contemporary artists. The programme consists of an array of exciting artists supported by year-round exhibitions and contemporary art fairs. This exhibition underlines JD Malat Gallery’s wider international programme and seeks to strengthen the dialogue between artists and viewers across the world.
Zümrütoğlu: Atonal Drift
9 October to 14 November 2020
Exhibition Opening Hours: Monday – Friday, 10am - 6pm Saturday, 12 – 6pm
Art initiative supporting mental health charities to offer a lifeline to people devastated emotionally and financially by Covid-19.
When we attend concerts, shows and festivals, we’re caught up in the experience of the music: the sound, the lights, the performers ... the whole joyous event. What we’re not aware of, is the army of people working backstage to create those mesmerizing performances – the sound engineers, the set designers and builders, the make-up artists and countless other behind-the-scenes professionals who contribute, invisibly, to our lasting memories.
With live performance venues and spaces standing silent during 2020, those same people, many thousands of them, who should be pulling together to create the infrastructure for world-class performances, have lost, or are about to lose their jobs. With no likelihood of work for the foreseeable future, they are anxious and frightened. Many don’t know where to turn for help.
Enter #MakeItBlue: a group of live events professionals who came together at the start of lockdown. The group’s first campaign, #LightItBlue, used its collective network of contacts to prompt thousands of landmarks and iconic buildings around the world to light up blue every Thursday night, in a gesture of gratitude to all healthcare and frontline workers. The stunning images of landmarks bathed in blue light - from the London Eye to Niagara Falls - drew huge international media interest.
Since then, the original group of like-minded associates formalised into a community interest company (CIC), dedicated to raising funds and awareness for relevant mental health charities and initiatives.
Artists, designers, illustrators and photographers
#MakeItBlue’s mission is to support live events industry colleagues who are in need, and also to promote public mental health awareness through arts, entertainment and cultural projects.
The group is now reaching out to artists, designers, illustrators and photographers to ask for their help. The simple request is for creatives to:
The #MakeItBlue team will auction the artworks in the run-up to Christmas. Proceeds will be donated to Samaritans and to Stagehand – the Production Services Association Welfare and Benevolent Fund, so that people in need can receive financial, emotional or therapeutic support.
The full story of #MakeItBlue, together with information on the charities it supports, can be found here.
If you are willing and able to donate an artwork, Sarah Webster at #MakeItBlue would be delighted to hear from you, so please email her at: email@example.com, or phone 07950 035897 for further details.
"In Connection"/ Group Exhibition curated by Mary Stefanou at Domatio
Duration : 11th September - 20th September 2020
Domatio art space invites you to its Group Exhibition " In Connection" curated and conceptualised by one of its artist members, Mary Stefanou.
Artists were invited, through an International Open Call, to get inspired by her theme :
" In Connection "
'Connection' : Which other word more fully captures the function of art in terms of the vital contact between artist and viewer? What does an artist seek through the descent into his inner universe other than connection? What does the viewer seek other than the affinity of the beholding of his world with that of the artist?
Both of them made from the same cosmic material , just as all humans, they vibrate to the same oscillations that move everything else in our known and unknown universe, exactly as revealed to us by science and evoked by the poets’ imagination! Every element of the world, every creation, every creature of the microcosm and the megacosm of our infinite universe, floats in an orbit of connection with the other, until the moment of their complete convergence.
And so the artist and the viewer, themselves suspended in the realm of the cosmic whole that surrounds them, explore the essence of their existence, simultaneously asking questions and receiving answers from each other.
The redemptive quality of art, emerges through the process of our self-exploration, functioning as a vital means of connection with the past, the present, the future, and as a wandering through a ceaselessly changing journey of life. The lambencies and the explosions of the soul, the nuanced array of our emotional palette, the labyrinthian mosaic of our existence, our inner-most truth, find a ‘voice’ through the raw material by means of which we choose to express ourselves. It is a descent that beckons us to let go, to accept, το set ourselves free: a descent that strips one of the cloaks and facades that conceal our essence from ourselves and others. The cathartic sensation of this denuding opens the way to us forming a deeply meaningful connection with our self and our fellow human beings.
The creator, stands before the blank ‘canvas’, guided by the deep source of his being and, gradually, the borders between the conscious and the unconscious world are blurred. In a place where ones hand balances between rational and irrational forces, between the beats of the heart and the neural glimmerings of the mind, between the inner….darkness and light, between the masquerade and the denuding, between the burning and salvation, in a perpetual creative flow!
Art Historian Ifigenia Stefanou
Guest : Fenia Zia age 9.
11th September - 20th September
Opening Friday 11th September 17:00-22:00
Mon-Sat : 18:00-22:00
Sunday : 12:00-17:00
Facebook link for event :
Contacts for exhibition :
* Special thanks to Graphic Designer : George Kastanakis Art Historian : Ifigenia Stefanou
* In Connection open call was widely embraced by artists abroad. So Domatio aims to keep Mary Stefanou's theme of "In Connection" for future exhibitions. Connecting us with artists from abroad who wish to showcase their art in Greece.
JD Malat Gallery is proud to present Presence in Absence, a solo exhibition by leading Irish artist Ian Cumberland. From 7 September to 5 October, Presence in Absence will show a series of hyper-realist portraits staged in engaging installations.
“Encountering the work of Ian Cumberland is a peculiar, unsettling experience, as if the viewer has intruded into a ‘space’ and a ‘moment’ to which they are alien. Positioned as an outsider, Cumberland’s series of multi component tableaux seem to offer a viewing experience that falls somewhere between an invitation to eavesdrop and an unintended moment of voyeurism.” David Campbell, writer and curator.
JD Malat Gallery is pleased to announce Presence in Absence, a solo exhibition by Irish artist Ian Cumberland, from 7th September to 5th October 2020. Born in Banbridge in 1983, Cumberland is best known for his hyperrealist portraits of isolated subjects in detailed interiors, exploring themes of mass media culture, surveillance and the notion of the human ‘self’.
Presence in Absence consists of installations that utilise portraits as part of a multi-part tableau, establishing a dialogue between objects. Cumberland’s works involve an assemblage of theatrical objects, adding abnormal touches and unsettling atmospheres within mundane interiors, giving rise to an acute degree of realism. The subjects are caught in moments of escape from their psychological containment, similar to one experienced by people during the pandemic. This is Presence in Absence, a social commentary on a sociological crisis.
Cumberland is meticulous with his choices, everything is precisely controlled from the colour palette, the outfits, the lighting and the overall set. This staging and organisation are a commentary on our society, how we are manipulated to believe in lifestyles and material goods. Get the Look 2020 perfectly demonstrates this by containing text that itemises the cost of every element in the staged scene with the neon sign reflecting our image saturated commodity driven world.
The woman is surrounded by objects of capitalist desire, get the look, the dress, the Persian rug. It is a command; we are being told what we should be wearing and how we should be living. Behind her, the television shows a still from some unidentifiable ravaged landscape, possibly caused by deforestation for the creation of materials, mass pollution in fast fashion, spurred on by our insatiable desire to get the look. Reminiscent of Brecht and his theatre sets, the individuals in Cumberland’s works are faced with a multitude of choices and possibilities and it is up to the viewer to decide what those choices will be. Although Cumberland begins the story, the audience finishes it.
Cumberland’s genius shines through when he challenges conventional ‘painting’ and produces something wholly original and unique, transcending traditional painting as we know it and questioning representational strategies. By utilising paintings within a wider installation, Cumberland adds another layer through which the viewer, or the voyeur, must engage with the complex subjects in his work.
Presence in Absence explores different manifestations of ‘Realism’ by bringing together painting and installation. In so doing, Cumberland presents a wholly unique experience of the effects of mass media, culture and control on humanity’s notion of self.
Cumberland’s work is in the collections of the G2 Kunsthalle, Leipzig, Germany, Hildebrand Collection, Leipzig, Germany, Northern Ireland Civil Service Art Collection, Northern Ireland, National Self Portrait Collection of Ireland, Ireland, Office of public works, Ireland, State Art Collection, Ireland, Arts Council of Northern Ireland, Northern Ireland, Belfast City Hall, Northern Ireland, Queens University Belfast, Northern Ireland, and the University of Ulster, Northern Ireland. He is the 2010 recipient of the Davy Portrait Award.
Exhibition Opening Hours: Monday – Friday, 10am – 6pm and Saturday, 12pm – 6pm
JD Malat Gallery, 30 Davies Street, Mayfair W1K 4NB
Roy’s Art Fair is back and raring to go after sadly having to postpone our April fair.
Our next fair will be in our new edgy venue The Boiler House on the bustling artistic hub Brick Lane in East London. There will be 80 emerging and established artists on display, both new to our fair as well as previous artists showing their new work. Over our 4 day event, we continue our focus on accessibility by keeping Roy’s Art Fair entrance FREE for all.
The Boiler House, 152 Brick Lane, London, E1 6RU
October 8th - 11th 2020
Roy’s Art Fair wants to support the recovery of London’s cultural sector, the creative arts and our artists.
The safety of both exhibitors and the public are our main priority at the 6th Roy’s Art Fair, which we will be going above and beyond to ensure. With the unfortunate cancellation of Frieze week, due to travel restrictions for international clientele, Roy’s will aim to deliver an exciting and safe UK Art Fair.
The team at Roy’s Art Fair are all artists in their own right and offer their invaluable expertise and support to both emerging and established artists as they navigate the art world. Their focus is primarily on developing a community led spirit initiated by artists to connect directly with the public and promote both the artists' and buyers' interests first.
What sets us aside from the host of other art fairs now popping up around London is our comfortable yet energetic atmosphere that allows visitors to connect with artists and invest in artwork they love. Roy’s Art Fair does this at an approachable level, whether you’re an avid art collector or a first-time buyer and with our free entry, we welcome all.
There will be many opportunities for all to explore their own creativity with Roy’s famous doodle area. We encourage visitors of all ages to get involved with art materials supplied by our main sponsor, GreatArt.
Our team have been busy during the pandemic and are excited to announce the launch of Roy’s Art Gallery, an exclusive online platform for our fair artists. This gives visitors the opportunity to view and buy prior, during and after the event. The artwork for sale on the site is designed to give everyone the opportunity to explore our exhibitors at their own leisure. Check it out at www.roysartgallery.com
“Roy’s Art Fair will reach new heights with our new location of The Boiler House, home to the iconic Truman Chimney that towers above Brick Lanes. With thanks to the steady success of each fair we are now able to extend our support to a wider group of artists and ensure our community provides them with the right knowledge and tools to make the fair a triumph.” – Roy’s Art Fair
My name is Grant Milne the founder of Artist Talk Magazine.
July 2019, I decided I wanted to spend more time painting portraits, along with developing a technique that would speed up the process. Prior to this, on average I was painting 1 - 2 portraits a year, which would take me approximately 12 months to complete each portrait. I therefore, decided to challenge myself to complete 26 portraits within a year. I decided to complete 26 A - Z portraits of famous faces, giving myself 6 hours to complete a portrait. The rules being I would split each portrait into three sessions of two hours duration, which would give me enough time to allow the oil to dry between layers.
In March 2020 the UK Government announced a lock down due to Covid-19. During this time I did continue to paint the A - Z portraits of famous faces, becoming aware, via National Media of #portraitsfornhsheroes This concept was created by the portrait artist Thomas Croft. The criteria being, if you are an artist and would like to offer a free portrait to an NHS key worker, then you post a green canvas from Tom’s Instagram @tomcroftartist on your social media. This including the hashtag #portraitsfornhsheroes, then triggers the opportunity for an NHS worker to be able to search for the hashtag, see your offer and contact you directly to apply for a free portrait. Similarly, if you are an NHS front line worker and would like to put yourself forward for the chance to get a free portrait, please look out for the green canvas, by searching for the hashtag #portraitsfornhsheroes and message the artist.
I thought this was a fantastic idea however, initially at the time I did not feel comfortable participating, due to the fact I was not confident I could complete the portrait or that anyone would want one. I decided therefore, to just continue the A - Z portraits. During this time I also had to make the decision to cancel the April 2020 issue of Artist Talk Magazine and hopefully, commercially make this issue available in July 2020. This was a difficult decision to make, as I knew the featured artists would have been excited to showcase the fantastic work they produce.
Three months went by and on the 4th June 2020 I finally decided I wanted to offer a portrait to an NHS Hero and be a part of the #portraitsfornhsheroes. At the time I was painting the famous faces portraits and I felt that my time would be better spent painting the true Heroes I therefore, posted the green square on my Instagram not knowing what to expect. I felt honored to have NHS key workers saying they would love to have a portrait, furthermore they all had incredible stories to share, so I decided I would complete three portraits. At this time I made up my mind to stop the A - Z portraits and focus on painting the three #portraitsfornhsheroes of Hannah Milne, Jessie Jeff and Cassandra Wright.
I was also working on making sure the July 2020 issue was ready to be published, at this point the cover had not been confirmed. Originally I wanted a major Art Gallery to be the focus but I felt with Covid-19 and the restrictions being imposed, now was not the best time.
I completed all three portraits and was personally pleased with the results. I asked Hannah Milne, Jessie Jeff and Cassandra Wright if they would be interested in sharing their stories and experience of Covid-19, they were all happy to do this and were delighted with the prospect of it. The cover had not been decided, so I thought #portraitsfornhsheroes would be the perfect tribute. I initially considered just one portrait being on the cover, but I thought it would be fantastic to include more, in order to symbolize how everyone has worked together to support and trying our best to get through this horrendous pandemic. So I made the decision to contact Thomas Croft, saying how I would love to include his portrait and 16 others on the cover, luckily Tom was happy to support the idea and sent me all the fantastic images.
Thursday 30th July 2020 issue 12 was finally commercially available. I was pleased to showcase more incredible artists from around the globe. All of the artists featured within this issue have given interesting, in-depth and honest accounts about themselves, their work, views and ideas. In addition to the amazing images of the work they produce. All the featured artists can be viewed here - www.artisttalkmagazine.com/featuredartists we are featuring the following; Portraits for NHS Heroes, NATALIA COLA, PAULO AMSEL, PETE REY, PORSCHE, SHANNON MCKEOGH, MARY STEFANOU, K11 MUSEA, MAYA BECK, CHOI WOO-YEUL and CHRISTINA WALSH
The cover of this issue is 20 portraits for our NHS Heroes. This concept was created by the portrait artist Thomas Croft. If you are an artist and would like to offer a free portrait to an NHS key worker, then please post the green canvas from Tom’s Instagram @tomcroftartist on your social media, which includes the hashtag #portraitsfornhsheroes. Then an NHS worker can search for the hashtag, see your offer and contact you directly to apply for a free portrait.
You can view the magazine at www.artisttalkmagazine.com
The feedback was really positive and it was amazing to see how many people have been involved #portraitsfornhsheroes Tom has really done a fantastic job in inspiring the nation. Furthermore, seeing the positivity from the NHS heroes has been amazing to see.
Just before the magazine was commercially available, I felt I wanted to give even more exposure to #portraitsfornhsheroes, I also wanted Hannah Milne, Jessie Jeff and Cassandra Wright to get something positive from the experience. I had this idea of wanting to showcase the portraits on Piccadilly Lights. The Piccadilly Circus is a large advertisement that is a famous feature of central London since 1908, when they hosted the first Perrier advertisement which was created with lightbulbs. Since then, the logos of many household names have been up in lights and the vista has featured in numerous films and TV programmes. Over the years, the technology has evolved too – from simple light bulbs to neon signs in the 1920s, then to digital projectors in the 1990s and on to LEDs in 2011. In collaboration with Ocean Outdoor, we curate public experiences throughout the year at Piccadilly Lights, including our annual pride celebrations.
On reflection I am not sure why I was that confident to email them. In the email I talked about the magazine, about the articles and experience of Hannah Milne, Jessie Jeff and Cassandra Wright and also the 20 #portraitsfornhsheroes on the cover. Amazingly Derek Manns from Landsec did email me back, saying what a great initiative and one they would consider. They amazingly donated 10 minutes of screen time, which had been originally for the NHS, at 8pm each Thursday, as a #lightitblue beacon. I would personally like to say thank you to Derek for firstly responding to my email, but giving me the chance and opportunity.
At this point I once again had to contact Hannah Milne, Jessie Jeff and Cassandra Wright and Thomas Croft. Saying I have this really fantastic opportunity to showcase the portraits on Piccadilly Lights. They all said yes. So working with Landsec, Ocean Outdoor and Make it Blue UK, I designed the copy for Piccadilly Lights. This involved 5 slides, first slide showing in full Thomas Croft portrait of Harriet, then my three portraits on separate slides. With the final slide showcasing all 20 portraits from the cover. Each slide would last two minutes and the full video would be 10 minutes. My friend James Hazeldine from Kudegra Productions put together the video format, adding the transitions between each slide. This was then sent to Ocean Outdoor who made this final export and helped make sure this would be displayed perfectly on Piccadilly Lights. I would like to say a massive Thank you to Pati and David.
I then had the final confirmation that on Thursday 6th August 2020 at 8pm I would be displaying on Piccadilly Lights. Saying Thank You NHS Heroes and showcasing all 20 #portraitsfornhsheroes. We then made the announcement live saying we would show this on Instagram Live, so everyone involved would be able to watch this. At this point I felt the pressure.
Thursday 6th August 2020, 8pm came and I could not believe it was being displayed on Piccadilly Lights. Saying Thank You NHS Heroes and showcasing all 20 #portraitsfornhsheroes, for me this was a brilliant tribute and showed how collaborating with one another we can achieve some amazing results.
View - Piccadilly Lights Video, Thursday 6th August 2020
A couple of days have now past and I decided to write how this all happened. I am truly honoured to have had the amazing opportunity to showcase all 20 #portraitsfornhsheroes inspired by Thomas Croft, which was featured on the July 2020 cover and shown on Piccadilly Lights
Thank you to everyone involved
Thank you NHS Heroes
Thank you Hannah, Jessie and Cassandra for letting me paint your portrait and providing an incredible article for the readers of Artist Talk.
Thank you to Landsec Group, Ocean Outdoor and Make it Blue UK for supporting this campaign, without you this would not be possible
Thank you Thomas Croft for creating and inspiring everyone with your #portraitsfornhsheroes
Thank you everyone who has completed the #portraitsfornhsheroes and thank you to the 16 artists that featured on the cover
Thank you James Hazeldine from Kudegra Productions
Thank you to everyone that has contributed an article to Artist Talk and our new Artist Talk Members. It was an honour to include all the featured articles of issue 12 on the Piccadilly Lights
About Landsec - www.landsec.com
We buy, develop, manage and sell high-quality office, retail and leisure space in London and vibrant regional locations.
About Ocean Outdoor - www.oceanoutdoor.com
Ocean are a facilitator of digital connectivity in the OOH world. We practise “The Art of Outdoor®” by creating inspirational new experiences for today’s aspirational brands.
The Art of Outdoor® is a single minded focus on desirable audiences and locations using the latest technology,
research and data – all wrapped in innovative creative executions. These are the elements that are core to Ocean’s
values and commitment to our clients.
About Make it Blue - www.makeitblue.uk
We began with #LightItBlue – a campaign that prompted hundreds of landmarks and iconic buildings around the world to illuminate blue as a gesture of gratitude to all healthcare heroes and key workers.
With #MakeItBlue we’re inviting people everywhere to get creative and showcase their talents. We’ve galvanized communities across six continents to turn the internet blue with videos, images and messages of hope and positivity.
And now we’ve formed MAKEITBLUE CIC – a community interest company dedicated to raising funds for mental health charities. As live event professionals, our mission is to support industry colleagues in need, while promoting mental health awareness through arts, entertainment and cultural projects.
I am Hannah Milne aged 31 (soon to be 32). I am married to Paul who is a Planning Officer and Mum to Max 7 and Frankie 5. We live in a pretty village called Barrowby in Lincolnshire. I work 30 hours a week as a Staff Nurse on the Acute Care Unit at Grantham and District Hospital, along with 6 hours a week as Service Improvement Lead Nurse for the Mid Trent Critical Care Network. I am very lucky to have parents, grandparents and in laws living in very close proximity, a grandfather in Devon and younger sisters in London and Madrid.
The following is how I came to be in my profession. My maternal grandmother received excellent care in a hospice when I was younger, the nurses care and kind words made a lasting impact on my mum’s memories. This led me to want to be in a career where I could make a difference to people in their times of need.
My A-Level choices were therefore, chosen with a nursing career in mind, biology, psychology and sociology. I then applied to study nursing at Sheffield Hallam University in 2006 and qualified 11 years ago, beginning my career at Lincoln County Hospital and later transferring to Grantham.
We have been very lucky in Lincolnshire that COVID 19 levels have been low compared to other less rural areas, Grantham being especially low. There have been a number of times we have been redeployed to The Pilgrim Hospital in Boston, where numbers were higher and there were staff shortages, due to quite high numbers of staff showing symptoms. Unfortunately a member of nursing staff at Boston died from COVID 19 after being ventilated and treated on ICU. My experience of COVID 19 being a time of great sadness and anxiety within the United Lincolnshire Hospital Trust, but especially at The Pilgrim Hospital. I have worked in a number of areas where patients displaying COVID 19 symptoms were admitted, thankfully with relatively low numbers having positive swab results. Assisting in intubating a patient has probably been the most nerve wrecking experience, as this is when contamination risk is highest. It is quite a weight on your shoulders to try and do all you can for a patient, whilst trying to keep all patients, your colleagues and yourself safe by following strict infection control procedures at all times.
The experiences that I would like to share are those of providing the best end of life care for patients during this time, which has felt more emotional than ever. Limiting the amount of time that family can see their relative before they pass away, has felt like such a cruel thing to do. Work as a nurse during COVID 19 has often felt like a battle between what is scientifically the right thing to do, in terms of reducing risk of infection and considering how patients, relatives and staff are being affected psychologically.
Delivering care, compassion and communication with patients is challenged by COVID 19. Hands have to be held through gloves, patients can’t see staff smile at them behind masks, reassuring words have to be spoken much more clearly. Admission rates have been lower than normal and the patients that have eventually attended, have been much more unwell that we would usually see before they seek help. Most of all I hope that patients know we are doing all we can to keep them safe and don’t risk their lives trying to avoid attending hospital.
Before COVID 19: To relax when I was not working I would take the boys to football three times a week, swimming and beavers. Socialise with family, friends and colleagues. Spend time with grandparents. Drink cocktails, take city breaks, shopping and camping.
During COVID 19: Reading, bike rides, walking, watching Netflix, painting garden fences, standing in queues outside Aldi, delivering food shopping, pretending to be on holiday in the garden, haircutting, playing family football matches, toasting marshmallows, building dens, quizzing on zoom, drinking red wine, cooking and now visiting family in the garden /on driveways.
The affect that working with COVID 19 patients has personally had on me, is that it has felt like an ongoing battle of head over heart. Between wanting to give patients as much of your time in close proximity as they need, without over exposing yourself to the risk of infection. Guilt that you can’t allow relatives to visit. Huge guilt and frustration that some treatment options that would normally have been available to offer to patients, haven’t been available during this time due to high infection risks.
The saying “There is always light at the end of the rainbow” what would you like to see
there?............ I would like to see a sense of normality. Patients not being too scared to come into hospital, that they are putting off getting help when very unwell, their relatives being able to visit and have the reassurance of being able to see their loved ones. Normal services resume at Grantham Hospital, staff deployed back to their usual places of work and us being able to deliver the level of service we previously have. Less worry about bringing COVID 19 home to my children and being able to hug my parents and grandparents
My Name is Jessie Jeff and I am 28 years old, I live in Dorset where I have lived all my life.
I was born in Dorchester however, in recent years have moved to West Parley, where I have bought a house with my partner Andy, my mother Alice and Chris, who is like a father to me, as my own father has never really bothered with me.
I also live with my lovely dogs who always keep me very busy. I live local to Andy’s family who are also like my family. Rosemary who is the amazing Grandmother, Neil jane, Tom, Kelly and my little niece Olivia. I was also very close with DAA, who was like a grandfather to me but unfortunately, he passed away a short time ago. My other family Simon, Sam and their children also keep in touch and still remain in Dorchester.
How did I get into the profession:-
I have always worked in the health care industry since the age of 16. I started in the kitchens washing up and worked my way up into the nursing roles, knowing I wanted to be a paramedic however, it being very difficult to get into. I used to care for my grandad Sam Benham, who I was very fond of and I feel the care he required, caused me to then have an interest into the caring role and this is where becoming a paramedic came to mind.
The experience with Covid 19 has been very challenging, upsetting and above these feelings, very rewarding. As Paramedics we have to have a calm, level headed approach, so as to relax the very scared, anxious and worried patients.
The wearing of the PPE has also been a great challenge, the sore nose and ears and feeling like you cannot breathe properly takes its toll on you however, with your colleagues support you get through, along with support from your family and friends.
The worst experience I had, was when I had to move out of my home into a hotel, which was very lonely. The reason being for this, was due to my relatives being high risk with medical conditions.
Not being able to sit with them at night, or after work and speak with them was most challenging. This being especially after some very sad jobs, where people were dying and suffering was at its peak. Again, it was also very challenging not seeing Andy’s nan Rosemary, who is also like a nan to me too. Not being able to see one another and do the things in life that we all take for granted, such as hugging and visiting each other is a painful, emotional and personal challenge of its own.
When I am not working, I do enjoy spending my time with family and my dogs. Andy and I also spend a large amount of time with Andy’s brother Tom, partner Kelly and niece Olivia which I enjoy, also going on bike rides. My mother and I also spend a lot of time together and have a big enjoyment in spending, which does not help the wallet! Andy and I are also working on our house, which is very much nearing the end, allowing us to do the things we want to do in life, including marriage.
I think mentally Covid 19 has affected almost everyone and it has also been very tiring and challenging. The wearing of PPE along with the wearing of surgical face masks that make your throat sore has been difficult however, with other colleagues you manage to find different coping mechanisms.
I would like to see things go back to normal, which I am sure if we follow government advice and stick to the rules, we will overcome this.
It has been a challenge however, there are still other challenges we need to overcome away from Covid 19. An example of this, being when myself and a crew mate were assaulted by four people. This was an unprovoked attack, where both myself and a crew mate were injured during the pandemic. This therefore, was also very hard to cope with as well as Covid 19. I am however, sure we will beat these challenges in the way that we always do!
I would like to take this opportunity to thank you for this chance and space to be able to share some of the emotions, feelings and thoughts that I have so far endured and hope the readers of Artist Talk Magazine will enjoy!
My name is Cassandra Wright. I am a staff nurse and work in the theatre department of St John’s hospital Livingston. I have been a nurse since 2012. I have worked in many jobs within the medical and surgical side of healthcare . My role consists of being a scrub nurse and an anaesthetic nurse. This means I either assist the surgeon while he is operating or I assist the anaesthetist while you are going off to sleep.
I got into becoming a nurse through my own hero, My Mum. My mum got into nursing from her Mother and she from her Nanna. My mother started university as I just started high school, just to set the scene she had 4 children aged between 2 and 14, she worked really hard and graduated with a merit. I am really proud to be a nurse and carry on the family tradition. I am such a people person, I love to talk to people and I have found that the smallest things like a smile and conversation can ease a patient’s worries and that is what they remember. Although my patients are sleeping for most of the operations, I really enjoy talking to them before hand and helping ease their nerves before they have their procedure.
My experience of covid 19 will be very different from most. I was actually on maternity leave and I wasn’t due to go back to work until the end of July. I really struggled not being able to help my colleagues and felt really guilty. My family and friends kept repeating a phrase that didn’t sit well with me “I am so glad YOUR not at work”. I know that I am precious to my family and friends and they just want you to be safe however, my friends and colleagues are special to me and I wanted to help. When I returned to work I felt like I had started a completely new job everything was totally unrecognisable, the only thing that was in the same place was the changing rooms. Every day was different as guidance changed. Certain things felt very alien to me but you just have to learn to adapt. The support from my colleagues helped me through this uncertain time and I am so glad that I work with such a lovely bunch.
I think your readers should know that the nurses really felt the support of the public during the pandemic. We do have very difficult jobs and have to face death, illness, loss on a daily basis however, we do get great job satisfaction especially when things go well. It is nice to feel appreciated, health is wealth at the end of the day.
When I am not working I spend time with my family, which includes my wee baby boy. He takes up most of my time. We have really enjoyed our walks and exploring all the beautiful countryside that surround where we live. We are very lucky to live in beautiful Scotland and have access to some of the most beautiful scenery in the world. This time has made me appreciate where I live.
As a theatre nurse I am used to wearing full PPE however, its very intense wearing full RPE. You have to have trust in your mask and that you have put it on correctly. I have had my skin breakdown on my nose. We also have shortages in PPE at times and can feel stressful thinking you might not be able to work and help your colleagues. I always shower before I leave work, it’s a horrible feeling that you might be taking something home to your family.
At the end of the tunnel I would like to see a wage rise LOL. I hope that people realise how hard we work and that we try are very best every day.
On behalf of the readers and myself, I would like to thank all NHS and key workers for all the good you have done and keep on doing
© 20 #portraitsfornhsheroes from the cover of Artist Talk Magazine July 2020 issue
Following recent racial equality events around the world, Jackson's Art Supplies received a lot of correspondence regarding the bias towards caucasian skin and flesh tones, among colour ranges supplied by colour manufacturers. Jackson's Art Supplies decided to investigate further. Many had already undertaken changes.
Statements from Art Materials Companies
Here is a selection of responses from art materials manufacturers that Jackson's received when they asked them if they had plans in place to update their colour ranges (please note that for many English is not their first language). For the full list of statements visit https://www.jacksonsart.com/blog/2020/07/16/redefining-skin-and-flesh-colours/
‘We are addressing this issue. Portrait Pink was implemented one or two years ago to replace Flesh Pink, but this is clearly not enough.
We will be changing this shade to Peach. This is a growing concern that we should have been addressed already in the past and that we will address now’.
Jackson’s is committed to equality, and so we felt it essential that we look at our product lines to ensure they were in line with our company values. We have renamed our Flesh Tint oil colour Pale Terracotta and are working to add more shades to Jackson’s Handmade Soft Pastel Portrait set so that it caters for all skin colours.
Winsor and Newton
‘Following the ongoing Black Lives Matter movement, as a company, we have reflected on how we can make a positive change in our industry. While Flesh Tint is a historical colour name, this is not a part of our history that we will be carrying forward.
We have made the decision to change the name to Pale Rose Blush across the different Winsor & Newton ranges and are working to ensure our products have the same colour with the new name to be available late August.
In addition to the Flesh Tint colour range, we are also continuing to review all product and colour names to ensure we remain inclusive at all times.
As a company, we are committed to be a positive force for change, and we are continuing to identify actions we can take to eradicate injustice, racism and inequality from our business and industry as a whole’.
For the full list of statements visit https://www.jacksonsart.com/blog/2020/07/16/redefining-skin-and-flesh-colours/
JACKSON’S ART SUPPLIES LTD.
1 Farleigh Place, London, N16 7SX
Being the woman the central theme of this series, she is approached as an unfolding of a single individual, who is multiplied in different personalities, varied social contexts and a physical aspects transversal to those of a kind.
Despite the bright colours with which she represented as well as the outfits she wears, she is a mysterious being who does not smile, that is very sharp, cerebral and suspicious but who does not let her world be debauched by those she does not want.
The design is fast and fluid, without resorting to stylistic manoeuvres and without classicist ambitions.
The technique is basic and unpretentious.
The result is neither more nor less than what was intended.