Static Mist

Ecstasy amid ruin.

‘The girls stood in a group, wearing bright lipstick and the blank, wary expressions of half bright souls turned mean and nervous from too much bitter wisdom in too few years…’

Hunter S. Thompson
Hell’s Angels

Slowly, London Fashion Week grinds to a close. Selected pieces of my small contribution to the whole carnival can be seen here. I created artwork for silk-screening, foil printing, jacquard weaves and digital print. The most I’ve ever done for a collection with Jena.Theo.

Already looking forward to working on the next collection.



Long time friend and collaborator of rockGroup, Eric Surmont provided the soundtrack to the show, working under his Dig or Die identity with Noki. Tres cool. 

The collection will be showing in Paris at the Trace Showrooms from February 28th until March 3rd.
6 Cour Bérard
75004
Paris

Press
jenatheo@goodleypr.co.uk
+44 (0)20 7287 8081

Sales
sales@jenatheo.com 

13.

It’s happening again.



Jena.Theo will be showing their new collection on schedule during London Fashion Week. 

Elements of the collection include a series of placement prints based on my graphic work, and a set of digital prints featuring painted and photographed florals. 

2012 II.

2012.

It’s been a while. Instagram ate my Tumblr. 

Some shots from Futurism 2.0











My piece - ‘Doom Mantra’ 

Serious gathering.

On the shoulders of giants.



Black Atelier.

Handstyled.

Some of the print treatments I’ve been working on with Jena.Theo for their AW13 Pre-Collection. A mix of foiling and heavy screen-print on fine silk for a deliberately distorted feel. More soon. 

Hell’s Angel

The Spring Summer 2013 Collection from Jena.Theo debuts tomorrow as part of London Fashion Week. I worked with them on embroidery detailing, screen-printing leathers and silks and the design of their digital print collection. 

Taking influence from tattoo aesthetics, anatomical drawing and scientific diagrams I worked up a series of hand-drawn treatments, which were then combined with imagery taken from my abstract paintings to produce nine different digital prints. 

 
It’s been a deeply involved process, Jena.Theo put progress and experimentation at the forefront of their design ethos, working with them so closely has yielded some really compelling results. 

I also painted four installation pieces to act as backdrops for the salon show, you can see them showing at London Fashion Week tomorrow, Tuesday 18th of September.

15.30pm and 16.30pm 

The Portico Rooms
Somerset House
WC2R1LA

Ticket requests: jenatheo@goodleypr.co.uk

The collection will also be exhibited during Paris Fashion Week at ZipZone.

ZipZone Paris
28th September - 1st October
Musee des Art Decoratifs
Louvre Palace
103 & 111 Rue de Rivoli
75001 Paris

Appointment requests: sales@jenatheo.com 

 

Futurism.

Futurism 2.0 is gathering momentum. From the website…

We stand on the last promontory of the centuries! Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed. 

Marinetti, Futurist Manifesto, 1909.

SYMMETRY ACROSS CENTURIES

In 1912, just three years after the manifesto was published, the Futurists exhibited in London for the first time. A hundred years later on September 27th, 2012, just three years after the creation of Graffuturism.com, the Graffuturists will exhibit for the first time in London at Blackall Studios.

THE IDEALS OF DYNAMISM AND PROGRESSION

At the core of both movements are the parallel ideals of  “dynamism” and “progression.” Both of these keywords conjure a sense of action, motion and movement, wavering disturbances of change pulsing forward, like an electrocardiogram, along a historical continuum into the future. Marinetti extolled the virtues of a dynamic art form that was alive and motivated; Poesia, the founder of Graffuturism.com, has stated that the word Graffuturism was inspired by the desire to articulate a progressive impetus for graffiti.

URBAN, ONLINE, GLOBAL

Uplifting arms together in spirit, both these movements revel in the urban environment as a petri dish for the advancements and inventions of their age. Just as Futurism embraced the Industrial Age and its recently mechanized urban centers, Graffuturism embraces the Digital Age and its recently wired urban-global community. For the Futurists, the ideals of dynamism were expressed in images of their century’s new inventions, such as the motor car, the steam engine, the airplane, the telephone; whereas for the Graffuturists, the technological icons that are mythologized in their art and culture are the tools of their trade: spray paint, subway car, markers, rollers, freight trains, fire extinguishers, and so on. A different set of symbols for this century, but still imbued with the same semiotic impetus.

GRAFFITI, PAINTING AND ABSTRACTION

Because of the global composition of the group, the loosely-associated members are from disparate backgrounds, professions, and locations. They create in different styles and mediums, but for the majority of the artists involved in the group so far, their unifying influence is graffiti, their medium is painting, and their theme is abstraction. These artists aspire to a master’s level at their craft, which includes not only technical proficiency, but also historical research, theoretical readings, and possibly educational pursuits pertaining to their discipline. This kind of in-depth, well-rounded, self-cultivation has produced a community of artist’s with styles that are a refined visual poetry comprised of depth and complexity in content as well as technique. 

The Graffuturists could be classified as a High Style New Millennium movement, consisting of a dialogue and cross-pollination between advanced graffiti and fine art techniques, practices and theory. Wildstyle Graffiti is combined with Abstract Expressionism, Geometric Abstraction, or another high style historical form. Then it is transposed through the artist’s unique vision and medium into a personal vocabulary of hybrid techniques, an experimental mix of the high and low, intellectual and visceral, the visionary and the primitive. Whereas the Street Art movement of the mid-2000s tended to focus on figurative stencils and silkscreens used for wheat-pastes, this group of artists on the whole is more concerned with the act of painting and its history, whether academic or street, oil paint or spray, fat cap or sable brush. 

Just as Be-bop developed from jazz, Raw Magazine from Superman comics, and Wildstyle from Original Writing, Graffuturism progresses from graffiti, and then takes up the oily-rag torch to ignite the future.

Daniel Feral (Pantheon Projects / 12oz Prophet)