Sickboy’s Stay Free Show Photos

Just got some great photos of Sickboy’s upcoming Stay Free show. I posted about the show yesterday. It opens December 3rd, and one visitor will win an installation piece from the show worth £20,000.

In my first post on the Stay Free show, I said I was curious to see how well Sickboy’s work would carry over from rubbish skips and old buildings to gallery walls and living rooms. I think these photos provide some strong evidence that Sickboy is not going to have any problems transitioning into gallery work.

Photography by
Photography by
Photography by
Photography by

More photos after the jump…

Continue reading “Sickboy’s Stay Free Show Photos”

Sickboy and The Awesome Factory

As I mentioned the other day, Sickboy has a solo show coming up called Stay Free. It opens on December 3rd at The Tramshed in Shoreditch and runs until the 10th.

Okay, so it’s a solo show by a London street artist. What’s the big deal? Well a. Sickboy doesn’t do that much gallery work, and b. the show is inspired by Charlie and The Chocolate Factory. What that means is that 1000 visitors to the show will be given golden keys, and the visitor with the winning key will get “inherit” the a large installation piece from the show. Essentially, one lucky visitor will be given a £20,000 piece of art.

Stay Free will have an entirely new body of work from Sickboy. There will be both prints and originals for sale and, of course, the installation piece.

Street art seems to be in a really giving mood lately. First, Adam Neate’s giveaway, now Sickboy, and on December 4th, The Street Art Awards is raffling off a bunch of pieces on record sleaves. ‘Tis the season I suppose. Can I say that before Thanksgiving?

UPDATE: The Uroboros Project

Gaia‘s just sent me some new info and photos for his previously mentioned Uroboros Project.

Uroboros Project is a collaborative effort between artists Rachel
Lowing and Gaia. Spawned from a mutual interest in articulating the
inexorably intertwined relationship between people and nature, we
examine the act of consumption and its implications on contemporary

The urban environment is an organism whose growth is dictated by the
symbiotic relationship between the city and it’s inhabitants. It is
the ideology and laws of society manifest, yet simultaneously it obeys
basic, natural properties of formation and development that is shared
by all sentient creatures.

By considering our connection and correspondence with the city, we
come closer to understanding the purgatory between nature and culture
that defines our internal struggle as human beings.

Late Latin collaboratus, past participle of collaborare to labor
together, from Latin com- + laborare to labor — more at labor
1 : to work jointly with others or together especially in an
intellectual endeavor: to cooperate with an agency or instrumentality
with which one is not immediately connected

Uroboros is a circular symbold depicting a snake, or less commonly a dragon, swallowing its tail, as an emblem of wholeness, totality or infinity.

Here are some more photos from the recent installation in Baltimore. The project is all leading up to an installation at thinkspace gallery this January. See more of Gaia’s work on his flickr, and more photos of the installation at the Uroboros Project Blog here.

Sickboy Solo Show

HOOKED has info on Sickboy’s first major London solo show. Opening December 3rd in Shoreditch.

I love Sickboy’s work on the street, but I’m cautious about how well it will carry over to canvas. We’ll see in December though.

Full Saints and Sinners Review

As promised, here’s a more detailed review of the Saints and Sinners exhibition that artrepublic is putting on at the St. Martin’s Lane Hotel.

Last night was all about street art at the St. Martin’s Lane Hotel. Collectors and salespeople crowded into a front room to look at the 50-some pieces from artists ranging from Dolk to Asbestos. Not every piece was fantastic, but there was something for everybody. I’m hoping to get back to the show again though, because the opening was pretty crowded, and with 50 pieces in one tiny room, it was hard to take it all in. Continue reading “Full Saints and Sinners Review”

Saints and Sinners

Mr. Brainwash at Saints and Sinners. Photo by RJ
Mr. Brainwash at Saints and Sinners. Photo by RJ

I don’t have time to go into details tonight, but hopefully I will tomorrow. In short, Saints and Sinners is artrepublic’s exhibition at the St. Martin Lane Hotel. They have over 50 pieces there by a huge range of artists. Some of the work is good, some is great, and some isn’t, but if you have a chance to stop by, you’re sure to find something you will like.

There is work by Mau Mau, Mr. Brainwash, Pure Evil, Eine, Peter Kennard, Dolk, Logan Hicks, Asbestos, AME 72, Blek le Rat, Nick Walker, and many others.

I’ve got photos on my flickr if you want to have a look at some of the work.

Also, while I was there, I spoke to two of the artists in the show, and I’ll be posting those interviews later in the week.

Adam Neate Updates

Thanks to Beautiful Crime for noticing this. The Elms Lesters website has a press release up on their website about Adam Neate’s 1000 piece extravaganza which is happening this Friday. I just spoke with Elms Lesters about the show, and they mentioned that Adam Neate was on BBC World this weekend to talk about the show.

Here’s the press release. Note that the works aren’t really original works, but more individualized screenprints. Nonetheless, I think there will be a few more than 1000 people out hunting for these on Friday. Also, The Independent said that the drop was happening at sunrise, but this press release says evening time.


ADAM NEATE: The London Show

As dusk falls on Friday 14th November, Adam Neate will be claiming the streets of London as his gallery by leaving 1000 artworks scattered across the city.

Old habits die hard, even the most conceptual ones.
In a one-off art happening of characteristic generosity, one thousand hand screenprinted paintings by Adam Neate will be left on the streets of
London through the night of 14th November 2008. Teams of distributors will begin under cover of darkness at the furthest edges of the capital, working their way towards the centre by day break randomly distributing individually numbered ‘unique’ multiples.

For one night only, The London Show adopts the whole capital as its
gallery space and rethinks the idea of the ‘private view’. There won’t be any queues to see the work, no chilled wine, the artist himself won’t
necessarily be present – just one thousand chance encounters that make up a conceptually pre-meditated potlatch.

“The whole concept when I started the free art thing was challenging the notion of art as a commodity and its worth in society. Now I’m taking that to another level, testing the viability of separating art from commerce.”

Adam Neate reckons to have left around 6,000 paintings on cardboard on
the city’s streets over a period dating back many years. But that was at the height of his anonymity and now, with his star in its ascendancy in the British contemporary art scene, his distinctive style has become an instantly recognisable.

Taking a tip from Andy Warhol’s Factory, Neate has worked with a
silkscreen printer to ‘mass-produce’ the same number of paintings in a couple of weeks that it would have taken him a year to make by hand.

“I’m interested in that Warhol idea of the brand as assisted readymade. Apart from creating the master image in stencil, I haven’t had to touch these works at any point in their production, even the signature is rubber-stamped – and although they’re multiples, each one is compositionally unique.”

Printed on cardboard and shrink-wrapped in cellophane, there’s a
deliberate attempt to blur the boundary between painting, print and product.

“I remember as a kid going into Woolworths and seeing laminated prints
of that famous Tretchikoff painting ‘The Chinese Girl’ and thinking it was great that people could have that iconic image at home for next to
nothing. I’m hoping that for some people who come across one of these
new paintings, they’ll pick it up not because they recognise it as one of mine, but just because they connect with the image and would like to hang it on their wall.”

When they get it home, each new owner can decide whether their chance
acquisition of an art work by Adam Neate has greater value with the
shrink wrap left on (pure product), or taken off (pure painting). Whichever they decide, they still own one thousandth of an extraordinary public art project.

Ben Jones, art historian  31 Oct 2008