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Behind the Scenes with Hush

Posted by Lori Zimmer on 26th October 2016

British artist Hush has made a name for himself in the urban art scene with his signature style of harmoniously intertwining collage, graffiti, stencil, painting and drawing to make beautiful, bold works in the studio and the streets. Using the traditional geisha from Japanese culture as his muse, Hush blends Street Art aesthetics with vibrant color and pattern to illustrate the beauty of the female form. We spoke with Hush about his laborious technique, his incessant travel, and his recent curatorial project in New York. Read on to find out more from one the most successful street artists on the scene right now.



Tell us about a typical day in the studio

Well as all creatives know art is a sickness not necessarily a gift! So I wake early, grab a coffee as I drive to my studio. I usually land anywhere between 6.30am to 9.00am. My studio is a 2000sqft warehouse on a huge industrial site. I'm pretty much focused so catch up on mails, and make art all day everyday. I create a lot of work but only let the best out. When I post images on social media showing pictures of my studio people always comment about me standing on pieces, but I know they aren't going to make it so it turns into a HUSH flooring! I usually stay in the studio until 5 so I have a kind of work structure. When I'm painting a show or making an edition though I'm buzzed so usually stay in the studio around 12 hours a day, 6 days a week for months on end. Like I say it's a sickness!



Your work is a mix of methods, from stencils and screen print to action painting. How did you come about this multi-faceted working method?

I'm very interested in technique and the complexity of how I make works and want to always take it further. Every new body of work I make I introduces new elements. It's almost like I'm making a new language and introducing new words to the story each time I approach a piece. A lot of my inspiration is a conversation from street aesthetic to studio practice and vice versa. Some marks can only be made on the street and when you try to replicate them in the studio it evolves into something different again.



How does your studio work differ from street and commercial work?

When I'm making work on the street I'm not interested in it looking technically tight. It's got to be raw or a little brutal. I usually paint the street pieces in the studio on paper then rip it up and recreate it on the street by wheat pasting it back together and painting into it. The pieces I make in the studio are the exact opposite as I use the best materials and want to create something rich in complexity and aesthetic.



When did you make the jump from graphic design and illustration to fine art?

I studied illustration and design at art school for 5 years but was always the kid that could draw at school and did a bit of graf. I did everything after leaving, designed flyers in the Acid House party days, worked for ad agencies in London and Hong Kong. But always made art and was always interested in the street as an arena. By 2006 I was starting to get invited to do group shows and decided to focus on my passion. It was quite a natural progression and developed itself.


Siren in Motion, £995


You’re from the UK, lived in Japan, and seem to be consistently circling the globe. How does travel - and varying cultures - affect your work method and influence your art work?

Travelling does have an influence on my work but really it affects me as a person. I feel very privileged that art allows both myself and my family to experience all the cultures, people and places around the world. It’s very humbling.



You’ve recently made your curatorial debut in New York at the epic Vandal restaurant - which also includes your own work. How did you choose the artists for this large-scale project? 

VANDAL NEW YORK was amazing to work on. The guys who own the place really did give me free reign (well almost), but considering the investment in the place they were open to anything. The deciding factor for me was that I wanted to show a diverse, international street aesthetic: Handstyles, Graf, Paste up, Collage, Painting, Stencil work and sculpture.

The murals in there where created by Vhils, Apexer, Shepard Fairey, Tristan Eaton, Will Barras, Eelus and of course me!  I also wanted to represent the scene on a whole, so bought limited edition works by Banksy, Kaws, Faile, JR, Eine, Renta, Swoon, Paul Insect, D-face to name a few.



Best place to see art? Artists you’re digging lately?

I read critical theory, and visit museums rather than galleries, I see enough online. 

I like so many artists but at the minute I'm looking at works by a collective of painters from San Francisco:- Emilio Villalba, Justin Hopkins and Daniel Segrove, I’m really into Cy Twombly and Harland Miller.  Also Conor Harrington’s new works along with Anthony Micallef and Retna.


Hush Seductress, £850


Street Art to Take Home | Browse the Collection

Street art doesn't have to stay on the streets. With some of the most exciting new art coming from the urban scene, now is the time to invest in these edgy pieces with a distinctly contemporary feel. Bring the look home with our curated collection of street art picks to covet.


Out and About with Gabby Palumbo

Posted by Rise Art on 24th October 2016

This week’s Rise Art Guest Curator is the gorgeous Gabriella Palumbo, an interior designer, with a background in contemporary art, and founder of the award winning design blog FLAT15. Gabby loves all things design and is always on the hunt for inspiration from her travels abroad, high and emerging fashion, artwork and daily strolls around her colourful Notting Hill neighbourhood, pouring all of this back into her design and interiors projects. We asked her a few questions about her personal interiors and art style and her top tips for buying art. She also curated a collection of her favourite pieces, and picked out her Top 5 below.



Describe your personal interiors style in 50 words

I like to think of my personal interior style as contemporary eclectic. I truly love bright spaces and clean lines, but with that I enjoy the addition of texture, geometric patterns and natural materials in my interiors. I also like to infuse fresh greenery as much as possible.



Tell us about your personal art style in 100 words

My personal art style really varies, as I love so many different types of pieces. I did a Masters degree in Contemporary Art and so I am usually drawn to anything post war. I am also a huge fan of geometric and graphic patterns and tend to choose these types of prints to frame within interior spaces. I love their simplicity and how they look when combined as a set. I also love great photography, incredible artists such as Candida Hofer, Ed Ruscha and Richard Avedon provide such stunning photographic imagery that I often use their work as inspiration when choosing photographs for my spaces.



Kristin Gaudio-Endsley


Tell us how you use art at home and why it’s important for you

I am a huge believer that every home should have art! I think that while artwork brings character into a space, it also provides dimension, colour, pattern and even a sculptural element. In my own home I have so much art and I think it really reflects my personality and passion for design. I have everything from large canvas paintings, to an entire gallery wall behind my sofa of various black and white photography and sketches. When I am not investing in a new piece, I also like to experiment with displaying beautiful imagery that I come across, to create my own take on an art piece. I think that with art there are no limits.



What are your top tips for starting an art collection?

1 Surround yourself with art

Make a point to explore exciting exhibitions in your city. In London there are always new inspiring shows on at museums, galleries, auction houses and art fairs. I also love to buy art books for my coffee table, so I can read up on my favorite artists, this way I am surrounded and inspired by beautiful artwork on the walls and beyond.

2 Ask for advice

I think it's important to talk to people in the art world. Even if you are visiting a show or gallery, don't be afraid to ask questions and seek information (even though it can feel daunting at times).

3 Buy what you love

Exactly as we do in fashion or design, I think it is so important to buy artwork that represents your own personal style and taste. It will be on your walls for years and needs to be a piece that you believe in. Educate yourself on art trends and investments, but in the end follow your gut when choosing your art piece.


Gabby Pelumbo's Top 5 Rise Art Picks

Sunrise, Reed Hearne

Photography is one of my favourite mediums and I love the beautiful faded colours of this piece, as well as the architectural element it has.


Kiss was Beautiful, Tracey Emin

I am very drawn to neon art and although this is a print, it is a great way to have an element of neon on your wall that includes rich colours, design and in this case iconic text by Tracey Emin.


Nephile, Rosie Emerson

I love the moody and ethereal quality of this artwork. It has such calming colours and beautiful imagery.


Haworthia Fasciata, Kerry Day

This artwork is fantastic. Although it is a simple still life, it has vibrant blues and greens (that remind me of a David Hockney artwork) and just a positive feel about it. Also I am always drawn to greenery for my interiors in real life or within an artwork.


Untitled 1, Sarah Thomas

I absolutely love collage inspired art. This piece in particular is colourful, graphic and overall just a fun piece of art.


The Flat15 Collection

Here, Gabriella has curated a bright and edgy collection of contemporary artworks perfect for any space. Her love of nature, texture and clean geometry shines through in this colourful selection.



Up in the Air with Tommy Clarke

Posted by Katie Tsouros on 20th October 2016

Renowned aerial photographer Tommy Clarke, best known for taking to the skies with his camera to produce stunning photographs of the natural formations below, that look anything but, recently opened an exhibition of his new work in East London’s Truman Brewery. Showcasing his latest series of work that recently featured in Conde Nast Traveller, it’s an photographic show on a mammoth scale with a feeling of serene escapism at its cores. As the final weekend of the exhibition comes into view, we sat down with Tommy to ask him more about the work in the show, and his experience putting this together. ‘Up in the Air’ continues at The Old Truman Brewery, London until 23rd October. View Tommy’s work on Rise Art all year round.



1) Tell us a bit about the series - how did it start & what's it about?

My new series is called 'Useless Loop'. It’s the newest instalment of my fascination with the industrial production of salt and the comparisons to the work of artists in the abstract expressionism era. It's a series of aerial photographs of a Western Australian salt mine, capturing the colourful process of salt creation.


Useless Loop


2) How long have you had this show planned?

I photographed this series earlier this year and knew instantly that I wanted to exhibit it, the colours are very calming and even reminiscent of Barnett Newman’s work.



3) Do you have a favourite piece in the show?

The work 'Sand', is a favourite as I remember enjoying that flight so much, seeing sharks, dolphins, manta rays amongst so much other wildlife. It was the first time I put the camera down and just enjoyed the view.


The Wait


4) Was it difficult to curate the show and choose this collection of works?

I think what is evident from my work is that water plays a large part in it. So when I came to hang the works in the show, the different variations of water colour somehow linked it all together.


Utah Green


5) Any nerve-wracking or frightening moments while making this series?

I shot this series from an old 1960s Cessna so it was a pretty old aircraft that had bits hanging off it! So when you're flying over sharks the size of the plane you're in you do hope that the pilot did the proper checks!! Always a great feeling to land safely after flying in a plane with no doors.


Browse Tommy's New Works >>

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