Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | Best of D&AD New Blood Illustration & Graphic Design Graduates 2012: part three

New Blood graduate show 2012 -Alex Young
Following on from my second review of New Blood comes my final write up. Lots of students illustrated the cover for Grimm’s Fairy Tales – at University of Central Lancashire the rough energy of this woodcut by Alex Young stood out.

New Blood graduate show 2012 -Nicola Jones
At Norwich University College of the Arts Nicola Jones screenprinted the open market.

New Blood graduate show 2012 -Nicola Jones
New Blood graduate show 2012 -Stacey Knights
Stacey Knights worked in simple colourways to create illustrations of the market and for a brief to design for the cover of Little White Lies (another popular project which featured throughout the exhibition).

New Blood graduate show 2012 -Gina Pape
New Blood graduate show 2012 -Gina Pape
Gina Pape‘s Sympathetic Magic was inspired by the Pitt Rivers Museum in Oxford.

New Blood graduate show 2012 -Sophie Perryman
New Blood graduate show 2012 -Sophie Perryman
New Blood graduate show 2012 -Sophie Perryman
New Blood graduate show 2012 -Sophie Perryman
Sophie Perryman created a collaged monster that was the antithesis of the Kawaii (cute) phenomenon.

New Blood graduate show 2012 -Jack Cullis
At the University of West England Jack Cullis created a series of stunning illustrations for classic Penguin book covers.

New Blood graduate show 2012 -Sami Al-Adawy
Sami Al-Adawy‘s grid town appealed to my love of repetition in design.

New Blood graduate show 2012 -Jamie Jones
This harbour by Jamie Jones would look great in a kid’s book.

New Blood graduate show 2012 -Rebecca Clemson
New Blood graduate show 2012 -Rebecca Clemson
The Great Barrier Reef in paper quilling by Rebecca Clemson at Staffordshire University was a huge hit with visitors – she’s also a potter who has secured funding to set up her own business in the potteries. I wish she had a website.

New Blood graduate show 2012 -Melanie Milne
Melanie Milne had also dabbled in ceramics and had created this wonderful typographic textile design as an ode to the humble sprout.

New Blood graduate show 2012 -Elora Taylor
New Blood graduate show 2012 -Elora Taylor
New Blood graduate show 2012 -Elora Taylor
At Plymouth University I loved beautiful character illustration of jazz monkeys by Elora Taylor.

New Blood graduate show 2012 -Jenny Cox
At University of Cumbria Jenny Cox illustrated The Bloody Chamber by Angela Carter.

New Blood graduate show 2012 -Shorty Lee
New Blood graduate show 2012 -Shorty Lee
New Blood graduate show 2012 -Shorty Lee
Cute illustrations for a touchy feely children’s book called The Magic Sheep by Shorty Lee at Edinburgh College of Art.

New Blood graduate show 2012 -Nikki Wei Guo
New Blood graduate show 2012 -Nikki Wei Guo
Mother Worms by Nikki Wei Guo; illustrations to accompany self penned folk stories about desire for life and fear of death.

New Blood graduate show 2012 -Cara Holsgrove
Creepy but beautifully realised imagery by Cara Holsgrove is part of a handmade book of poems about distorted reality.

New Blood graduate show 2012 -Sophie Hargrave
Sophie Hargrave‘s recycle week and gender equality posters at Loughborough University.

New Blood graduate show 2012 -Camilla Perkins
I missed this year’s University of Westminster illustration exhibition at the Ambika P3 Gallery so Alia Gargum covered it. Here’s what I liked at New Blood: Above, super colourful portraits of David Bellamy and Jaques Costeau framed in wreaths for plate designs by Camilla Perkins.

New Blood graduate show 2012 -Angelina Ioannides-Beer
Like Alia I picked up on the geometric work of Angelina Ioannides-Beer. And what a marvellous name!

New Blood graduate show 2012 -Emma Black
Intrigued by overlaid monoprint work by Emma Black.

New Blood graduate show 2012 -Holly Monger
Narrative scenes by Holly Monger.

New Blood graduate show 2012 -Olivia Henry
Cute character work by Olivia Henry.

New Blood graduate show 2012 -Nina Jorgensen
Beautiful abstract patterns from Nina Jorgensen

New Blood graduate show 2012 -Josie Shenoy
Intricate patterned work by Josie Shenoy.

New Blood graduate show 2012 -Rikki Hewitt
Collaged work by Rikki Hewitt.

New Blood graduate show 2012 -Paul Hickey
Paul Hickey‘s work combining photographic imagery and a painterly blocks of colour.

It’s hard to pick out the finest graduates from such a busy exhibition which is why I always prefer to see individual college’s shows. I will always be most attracted to narrative illustration and typography over digital or advertising led work, and in those areas these three blogs should give a taster of the huge amount of creative talent heading out into the marketplace this summer. If you like what you see why not give them a job? I wish them all the best: whilst design becomes ever more important in our consumer led world it’s undeniably tough out there and only the very talented, motivated and lucky will end up doing exactly what they want to do.

Read my first and second reviews of New Blood 2012 here and here.

Categories ,2012, ,Alex Young, ,AMBIKA P3 gallery, ,Angela Carter, ,Angelina Ioannides-Beer, ,Camilla Perkins, ,Cara Holsgrove, ,D&AD, ,David Bellamy, ,Edinburgh College of Art, ,Elora Taylor, ,Emma Black, ,Georgina Pape, ,Gina Pape, ,graduate, ,Graphic Design, ,Great Barrier Reef, ,Grimm’s Fairy Tales, ,illustration, ,Jack Cullis, ,Jamie Jones, ,Jaques Costeau, ,Jenny Cox, ,Josie Shenoy, ,Kawaii, ,Little White Lies, ,Loughborough University, ,Melanie Milne, ,Mother Worms, ,New Blood, ,Nicola Jones, ,Nikki Wei Guo, ,Nina Jorgensen, ,Norwich University College of the Arts, ,Olivia Henry, ,Paul Hickey, ,Penguin, ,Pitt Rivers Museum, ,Plymouth University, ,Rebecca Clemson, ,review, ,Rikki Hewitt, ,Sami Al-Adawy, ,Shorty Lee, ,Sophie Hargrave, ,Sophie Perryman, ,Stacey Knights, ,Staffordshire University, ,Sympathetic Magic, ,The Bloody Chamber, ,The Magic Sheep, ,University of Central Lancashire, ,University of Cumbria, ,University of West England, ,University of Westminster

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Amelia’s Magazine | Break A Lead: Masque – University of West England Illustration Graduate Show 2015

Jessica Johnson UWE 2
The illustration course at the University of West England once again showed as part of Free Range at the Truman Brewery. Here’s my pick of Break a Lead: Masque.

Jessica Johnson UWE
Jessica Johnson UWE parachutes
Imaginary brutalist building collages by Jessica Johnson were inspired by buildings in Barcelona and Paris. I also liked her space themed patterns such as these parachute rockets.

Elin Lisabeth Break A Lead
Elin Lisabeth explored a scratchy style reminiscent of Jean-Michel Basquiat.

Break a Lead Camille Loftin UWE
Nice drawings from Camille Loftin focused on relaxed modes of contemporary study.

Jack Xander UWE
Jack Xander creatures
Jack Xander created surreal landscapes and creatures – loved his colourful explorer traversing a jungle beneath a volcano.

Aurore Swithenbank enamel animals
Aurore Swithenbank enamel animals 2
Aurore Swithenbank made enamel animals to features in her story of Nonoche, a polar bear in the Arctic.

Raphael Greaves UWE
I really liked architectural drawings by Raphael Greaves, but they were hard to photograph due to strange yellow lighting!

Millie Duffey 2
Millie Duffey
Millie Duffey made wonderful characters, both drawn and in ceramic form.

Niall Greaves
Niall Greaves 2
Simple but effective designs by Niall Greaves worked well in concertina format.

Sam Cox the Doodle Man
Sam Cox, The Doodle Man covered an entire room with his signature drawings, and he was indeed wandering the show dressed like this. Sam has produced work for an impressive roster of commercial clients, and I would love him to submit some work for my new colouring book open brief.

Josh Cook crochet
Josh Cook had fun upcycling crochet to create surreal faces.

Alex Christian UWE
There was lovely movement in these cavorting animals by Alex Christian.

Patterns block holiday UWE
And lastly I liked these patterns for a project called Block Holiday, artist unknown.

All of these images first appeared on my own my instagram feed: follow me there to catch my discoveries as I make them!

Categories ,2015, ,Alex Christian, ,Aurore Swithenbank, ,Block Holiday, ,Camille Loftin, ,Elin Lisabeth, ,Free Range, ,Graduate Show, ,illustration, ,Jack Xander, ,Jessica Johnson, ,Josh Cook, ,Millie Duffey, ,Niall Greaves, ,Nonoche, ,Raphael Greaves, ,review, ,Sam Cox, ,The Doodle Man, ,Truman Brewery, ,University of West England, ,UWE

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Amelia’s Magazine | An Interview with Daniel McNaboe

danielmacnaboe3

I’d like to start my interview with Daniel MacNaboe through an inquiry into the ideas, viagra order side effects views or politics that inspire his illustrations. Daniel is a graduate from the Illustration degree at the University of West England.

I’ve always been inspired by achieving some degree of realism in my artwork. Contemporary realist portraiture has been a continuing influence in the development of my work. I’m fascinated by the world around me. Both my mum and dad were always big on reading, cialis 40mg my dad would sit on the same patch of the sofa, reading the Guardian front to back for what seemed like hours each evening. His fascination with the world around him, simply his awareness of current affairs really intrigued me. I like to think he enlightened me to a lot of information. Always encouraging me not to take the things I have for granted.

Secondly I’m inspired by ordinary stories, I worked for a number of years during college and university holidays as a cleaner at the John Radcliffe hospital in Oxford. The job was a true life-experience. Not only the nature of the job itself, which consisted of working within sometimes distressing situations and environments. But also the people I got to know through working there. The cleaning staff comprised workers from all over the world, all with unique and amazing life stories that definitely affected the way in which I consequently look at the world. Their varying cultures, ideals, views really opened my eyes to a lot of things that in any other job I don’t think I would have been so fortunate as to experience. The many long hours I spent mopping floors, cleaning toilets and sitting on upturned mop buckets in cleaning cupboards chatting away with colleagues has continued to influence my thinking and motivations in regards to my artwork.

danielmacnaboe2

How do you decide which medium is best to represent your ideas?

I initially stick with what it is I know best, and from there let the ideas and aesthetics I’m exploring influence the mediums I use. I always begin with pencil and paper, and progress from there. I really enjoy printmaking, and spent a long time at University exploring hand-drawn and four-color photographic lithography techniques. I’m drawn to mediums, which complement my drawing, and general practical approach.

I allow the materials I use to help me form my ideas. I’ve always, for as long as I can remember been very much drawn to working with pencil and paper. It’s the simplicity of it that I get a kick from. I love rendering images onto the papers surface, in a similar way as to how I love watching a photograph develop in a dark room. I have a tendency to work slowly and methodically on each piece. I’ll never forget an art teacher telling me there are no lines in real life, and ever since have tried to avoid harsh, linear marks in my drawings when aiming towards realism. I tend to work softly and gently with my materials.

danielmacnaboethumb

What has been your favorite self directed illustration project?

The project I produced for my degree show at the University of the West of England. I chose to spend my last few months at university focusing on portraiture, this being a field I was keen to pursue after leaving University. Initially I was working through old family photographs for inspiration. I came across an image of my grandfather, a crisp military portrait of him in his first year as a U.S. Marine at age 18. What struck me was his youthfulness in the photograph. His innocence, and maybe naivety that was to be sadly short lived. It was interesting to me pondering that we were roughly at the same points in our lives, but under such different circumstances. Through consequent research I discovered he was deployed in the third wave of Marines onto the Japanese island of Iwo Jima on the 19th February 1945, and was incredibly lucky. Of the 340 U.S. Marines in his company only 17 of them, him included survived, many of them wounded. In one of my drawings for the project, I rendered from a photograph depicting my grandfather and a very good friend not long before they were both deployed to Iwo Jima. I learnt that his friend never made it off. On return to America after being disbanded he was awarded the Silver Star for gallantry in battle. In total 21,703 Japanese soldiers were killed on the island, and 6,825 U.S. Marines, with 29,909 American casualties over a 36-day period, a figure greater than the total Allied casualties on the D-Day landings. I decided to produce a series of images concerning his early life. From growing up as a young boy during the Great Depression in rural Illinois through to his time serving in the South Pacific during the Second World War. In a way the time I spent rendering these images allowed my to put my own life into some sort of perspective. What I seem to get most out of portraiture, whether it be portraits i’m working on myself or other peoples, is simply just gazing, trying to relate with the subject.
danielmacnaboe1

What was the thinking process behind the project?

Depsite living thousands of miles apart, I’ve always felt very close to my grandfather, and his experience during the war struck a chord with me. He is a quiet man, who is now 86 years old and very rarely mentioned his service. I was keen for the work to form a kind of homage to him. I guess the way I work is process based. I accumulate a collection of images that best convey what it is I want to express, and then begin rendering from them. As my work progresses it gives me more ideas as to how I would like to develop the work further. As I was working on the portraits of my grandfather I began to employ collage, Photoshop and printmaking to try and convey a particular aesthetic I thought was missing from the drawings. I loved the smokey aesthetic of the old black and white photographs I was studying, so I consequently decided to work with an assortment of soft-very soft graphite on smooth and thick off-white cartridge paper. I experimented with drawing in reverse with coloured conte pencils on black paper. Both techniques worked well. I also painted with Acrylic onto smoothly sanded gesso on Board. There were a couple images of the farmhouse my grandfather grew up in that I was keen to incorporate, and I felt the best way to represent this would be to move on to paint. Throughout the duration of the project I maintained a keen interest in the aesthetics of old documentation. I loved the qualities of the old military papers I was looking through.

danielmacnaboe2

I’d like to start my interview with Daniel MacNaboe through an inquiry into the ideas, viagra 100mg views or politics that inspire his illustrations. Daniel is a graduate from the Illustration degree at the University of West England.

I’ve always been inspired by achieving some degree of realism in my artwork. Contemporary realist portraiture has been a continuing influence in the development of my work. I’m fascinated by the world around me. Both my mum and dad were always big on reading, abortion my dad would sit on the same patch of the sofa, reading the Guardian front to back for what seemed like hours each evening. His fascination with the world around him, simply his awareness of current affairs really intrigued me. I like to think he enlightened me to a lot of information. Always encouraging me not to take the things I have for granted.

Secondly I’m inspired by ordinary stories, I worked for a number of years during college and university holidays as a cleaner at the John Radcliffe hospital in Oxford. The job was a true life-experience. Not only the nature of the job itself, which consisted of working within sometimes distressing situations and environments. But also the people I got to know through working there. The cleaning staff comprised workers from all over the world, all with unique and amazing life stories that definitely affected the way in which I consequently look at the world. Their varying cultures, ideals, views really opened my eyes to a lot of things that in any other job I don’t think I would have been so fortunate as to experience. The many long hours I spent mopping floors, cleaning toilets and sitting on upturned mop buckets in cleaning cupboards chatting away with colleagues has continued to influence my thinking and motivations in regards to my artwork.

danielmacnaboe3

How do you decide which medium is best to represent your ideas?

I initially stick with what it is I know best, and from there let the ideas and aesthetics I’m exploring influence the mediums I use. I always begin with pencil and paper, and progress from there. I really enjoy printmaking, and spent a long time at University exploring hand-drawn and four-color photographic lithography techniques. I’m drawn to mediums, which complement my drawing, and general practical approach.

I allow the materials I use to help me form my ideas. I’ve always, for as long as I can remember been very much drawn to working with pencil and paper. It’s the simplicity of it that I get a kick from. I love rendering images onto the papers surface, in a similar way as to how I love watching a photograph develop in a dark room. I have a tendency to work slowly and methodically on each piece. I’ll never forget an art teacher telling me there are no lines in real life, and ever since have tried to avoid harsh, linear marks in my drawings when aiming towards realism. I tend to work softly and gently with my materials.

danielmacnaboe

What has been your favorite self directed illustration project?

The project I produced for my degree show at the University of the West of England. I chose to spend my last few months at university focusing on portraiture, this being a field I was keen to pursue after leaving University. Initially I was working through old family photographs for inspiration. I came across an image of my grandfather, a crisp military portrait of him in his first year as a U.S. Marine at age 18. What struck me was his youthfulness in the photograph. His innocence, and maybe naivety that was to be sadly short lived. It was interesting to me pondering that we were roughly at the same points in our lives, but under such different circumstances. Through consequent research I discovered he was deployed in the third wave of Marines onto the Japanese island of Iwo Jima on the 19th February 1945, and was incredibly lucky. Of the 340 U.S. Marines in his company only 17 of them, him included survived, many of them wounded. In one of my drawings for the project, I rendered from a photograph depicting my grandfather and a very good friend not long before they were both deployed to Iwo Jima. I learnt that his friend never made it off. On return to America after being disbanded he was awarded the Silver Star for gallantry in battle. In total 21,703 Japanese soldiers were killed on the island, and 6,825 U.S. Marines, with 29,909 American casualties over a 36-day period, a figure greater than the total Allied casualties on the D-Day landings. I decided to produce a series of images concerning his early life. From growing up as a young boy during the Great Depression in rural Illinois through to his time serving in the South Pacific during the Second World War. In a way the time I spent rendering these images allowed my to put my own life into some sort of perspective. What I seem to get most out of portraiture, whether it be portraits i’m working on myself or other peoples, is simply just gazing, trying to relate with the subject.
danielmacnaboe1

What was the thinking process behind the project?

Depsite living thousands of miles apart, I’ve always felt very close to my grandfather, and his experience during the war struck a chord with me. He is a quiet man, who is now 86 years old and very rarely mentioned his service. I was keen for the work to form a kind of homage to him. I guess the way I work is process based. I accumulate a collection of images that best convey what it is I want to express, and then begin rendering from them. As my work progresses it gives me more ideas as to how I would like to develop the work further. As I was working on the portraits of my grandfather I began to employ collage, Photoshop and printmaking to try and convey a particular aesthetic I thought was missing from the drawings. I loved the smokey aesthetic of the old black and white photographs I was studying, so I consequently decided to work with an assortment of soft-very soft graphite on smooth and thick off-white cartridge paper. I experimented with drawing in reverse with coloured conte pencils on black paper. Both techniques worked well. I also painted with Acrylic onto smoothly sanded gesso on Board. There were a couple images of the farmhouse my grandfather grew up in that I was keen to incorporate, and I felt the best way to represent this would be to move on to paint. Throughout the duration of the project I maintained a keen interest in the aesthetics of old documentation. I loved the qualities of the old military papers I was looking through.

danielmacnaboe2

I’d like to start my interview with Daniel MacNaboe through an inquiry into the ideas, page views or politics that inspire his illustrations. Daniel is a graduate from the Illustration degree at the University of West England.

I’ve always been inspired by achieving some degree of realism in my artwork. Contemporary realist portraiture has been a continuing influence in the development of my work. I’m fascinated by the world around me. Both my mum and dad were always big on reading, page my dad would sit on the same patch of the sofa, reading the Guardian front to back for what seemed like hours each evening. His fascination with the world around him, simply his awareness of current affairs really intrigued me. I like to think he enlightened me to a lot of information. Always encouraging me not to take the things I have for granted.

Secondly I’m inspired by ordinary stories, I worked for a number of years during college and university holidays as a cleaner at the John Radcliffe hospital in Oxford. The job was a true life-experience. Not only the nature of the job itself, which consisted of working within sometimes distressing situations and environments. But also the people I got to know through working there. The cleaning staff comprised workers from all over the world, all with unique and amazing life stories that definitely affected the way in which I consequently look at the world. Their varying cultures, ideals, views really opened my eyes to a lot of things that in any other job I don’t think I would have been so fortunate as to experience. The many long hours I spent mopping floors, cleaning toilets and sitting on upturned mop buckets in cleaning cupboards chatting away with colleagues has continued to influence my thinking and motivations in regards to my artwork.

danielmacnaboe3

How do you decide which medium is best to represent your ideas?

I initially stick with what it is I know best, and from there let the ideas and aesthetics I’m exploring influence the mediums I use. I always begin with pencil and paper, and progress from there. I really enjoy printmaking, and spent a long time at University exploring hand-drawn and four-color photographic lithography techniques. I’m drawn to mediums, which complement my drawing, and general practical approach.

I allow the materials I use to help me form my ideas. I’ve always, for as long as I can remember been very much drawn to working with pencil and paper. It’s the simplicity of it that I get a kick from. I love rendering images onto the papers surface, in a similar way as to how I love watching a photograph develop in a dark room. I have a tendency to work slowly and methodically on each piece. I’ll never forget an art teacher telling me there are no lines in real life, and ever since have tried to avoid harsh, linear marks in my drawings when aiming towards realism. I tend to work softly and gently with my materials.

danielmacnaboe

What has been your favorite self directed illustration project?

The project I produced for my degree show at the University of the West of England. I chose to spend my last few months at university focusing on portraiture, this being a field I was keen to pursue after leaving University. Initially I was working through old family photographs for inspiration. I came across an image of my grandfather, a crisp military portrait of him in his first year as a U.S. Marine at age 18. What struck me was his youthfulness in the photograph. His innocence, and maybe naivety that was to be sadly short lived. It was interesting to me pondering that we were roughly at the same points in our lives, but under such different circumstances. Through consequent research I discovered he was deployed in the third wave of Marines onto the Japanese island of Iwo Jima on the 19th February 1945, and was incredibly lucky. Of the 340 U.S. Marines in his company only 17 of them, him included survived, many of them wounded. In one of my drawings for the project, I rendered from a photograph depicting my grandfather and a very good friend not long before they were both deployed to Iwo Jima. I learnt that his friend never made it off. On return to America after being disbanded he was awarded the Silver Star for gallantry in battle. In total 21,703 Japanese soldiers were killed on the island, and 6,825 U.S. Marines, with 29,909 American casualties over a 36-day period, a figure greater than the total Allied casualties on the D-Day landings. I decided to produce a series of images concerning his early life. From growing up as a young boy during the Great Depression in rural Illinois through to his time serving in the South Pacific during the Second World War. In a way the time I spent rendering these images allowed my to put my own life into some sort of perspective. What I seem to get most out of portraiture, whether it be portraits i’m working on myself or other peoples, is simply just gazing, trying to relate with the subject.
danielmacnaboe1

What was the thinking process behind the project?

Depsite living thousands of miles apart, I’ve always felt very close to my grandfather, and his experience during the war struck a chord with me. He is a quiet man, who is now 86 years old and very rarely mentioned his service. I was keen for the work to form a kind of homage to him. I guess the way I work is process based. I accumulate a collection of images that best convey what it is I want to express, and then begin rendering from them. As my work progresses it gives me more ideas as to how I would like to develop the work further. As I was working on the portraits of my grandfather I began to employ collage, Photoshop and printmaking to try and convey a particular aesthetic I thought was missing from the drawings. I loved the smokey aesthetic of the old black and white photographs I was studying, so I consequently decided to work with an assortment of soft-very soft graphite on smooth and thick off-white cartridge paper. I experimented with drawing in reverse with coloured conte pencils on black paper. Both techniques worked well. I also painted with Acrylic onto smoothly sanded gesso on Board. There were a couple images of the farmhouse my grandfather grew up in that I was keen to incorporate, and I felt the best way to represent this would be to move on to paint. Throughout the duration of the project I maintained a keen interest in the aesthetics of old documentation. I loved the qualities of the old military papers I was looking through.

Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS, stuff the gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a Stall to get people involved with The Great Climate Swoop, viagra dosage the direct action to shut down Ratcliffe On Soar Coal Power station in 10 days time, doctor Outreach also got people signed up to transport to get down to Nottingham, which is going from all across the country at activist cut prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let government agenda govern the proceedings, and that as a social movement we need to take a stand. Again Transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action. is an umbrella organisation that encompasses a broad range of activist and organisations that will have a range of details and contacts for the climatic event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ Subsidies.

Bl3

There was also the SOAS food Co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dyeing already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While 3 burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about, claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS. The gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a stall to get people involved with The Great Climate Swoop, buy the direct action to shut down Ratcliffe On Soar oal power station in 10 days time. Outreach also got people signed up to provide transport down to Nottingham, which is going from all across the country at special activist prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let a government agenda govern the proceedings, and that as a social movement we need to take a stand. Again, transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action is an umbrella organisation that encompasses a broad range of activist organisations that will have a range of details and contacts for the event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ subsidies.

Bl3

There was also the SOAS food co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dying already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While three burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about. Claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS. The gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a stall to get people involved with The Great Climate Swoop, page the direct action to shut down Ratcliffe On Soar oal power station in 10 days time. Outreach also got people signed up to provide transport down to Nottingham, salve which is going from all across the country at special activist prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let a government agenda govern the proceedings, and that as a social movement we need to take a stand. Again, transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action is an umbrella organisation that encompasses a broad range of activist organisations that will have a range of details and contacts for the event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ subsidies.

Bl3

There was also the SOAS food co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dying already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While three burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about. Claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS. The gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a stall to get people involved with The Great Climate Swoop, thumb the direct action to shut down Ratcliffe On Soar oal power station in 10 days time. Outreach also got people signed up to provide transport down to Nottingham, abortion which is going from all across the country at special activist prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let a government agenda govern the proceedings, and that as a social movement we need to take a stand. Again, transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action is an umbrella organisation that encompasses a broad range of activist organisations that will have a range of details and contacts for the event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ subsidies.

Bl3

There was also the SOAS food co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dying already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While three burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about. Claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS. The gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a stall to get people involved with The Great Climate Swoop, cialis 40mg the direct action to shut down Ratcliffe On Soar oal power station in 10 days time. Outreach also got people signed up to provide transport down to Nottingham, which is going from all across the country at special activist prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let a government agenda govern the proceedings, and that as a social movement we need to take a stand. Again, transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action is an umbrella organisation that encompasses a broad range of activist organisations that will have a range of details and contacts for the event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ subsidies.

Bl3

There was also the SOAS food co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dying already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While three burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about. Claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
Yesterday Bloom In Bloomsbury was held in Torrington Square in SOAS. The gathering was held to get people involved and engaged with the Climate Change problem. Luckily it was held under a big marquee as we were subjected to a few downpours throughout the day.

BL

There was a stall to get people involved with The Great Climate Swoop, order the direct action to shut down Ratcliffe On Soar oal power station in 10 days time. Outreach also got people signed up to provide transport down to Nottingham, case which is going from all across the country at special activist prices.

bl1

One of the aims was to also get people involved in the run up to Cop 15 in December where world leaders will meet in a ‘last chance’ conference to tackle Climate Change in Copenhagen. A people’s summit is being held on the 16th of December in the conference to show that we are not willing to let a government agenda govern the proceedings, cure and that as a social movement we need to take a stand. Again, transport from across the country will be going and coaches are being booked right now to ensure we can all get there. Climate Justice Action is an umbrella organisation that encompasses a broad range of activist organisations that will have a range of details and contacts for the event.

Bl2

A stall highlighting the problem of Agrofuels was also providing information to passers by, bio fuels are linked to accelerated climate change, deforestation, human rights abuses, water and soil degradation, and are still labeled by many NGO’s and government as an answer to conventional oil practice. There is ademonstration outside The Department for Energy and Climate Change in London on Monday the 12th to protest against the so-called ‘green energy’ subsidies.

Bl3

There was also the SOAS food co-op, which provides wholesale food and is run as a non-profit group set up by students. The bike maintenance workshop put on was also really popular. If you missed the event make sure you get down to Powershift being held over the weekend at the Institute of Education in London.

As the event wound down and we were outreached out, a group headed to the City University as a certain energy company, E.ON, were holding a talk at the student recruitment fair. The company is responsible for the planned new coal power stations at Kingsnorth, which combined would produce the same carbon emissions as Ghana. With the report by the Global and Humanitarian forum stating that three hundred thousand people are already dying already each year due to climate change, it isn’t a viable option.

Bl4

The group of activists stormed the talks, getting past the security guards who were holding a pretty tight presence outside the doors, quite possibly due to the continued protests against E.ON at student fairs last year.
While three burly guys jumped on one activist, the others handed out flyers to the bemused students woken up from the corporate PowerPoint slumber. An activist took to the podium to tell the audience what E.ON are really about. Claiming themselves as a Green Energy Company while 95% of their investment is into non renewable energies is a clear sign of greenwashing and the corporate bullshit that students have to listen to.
danielmacnaboe2

I’d like to start the interview with Daniel McNaboe by inquiring into the ideas, symptoms views or politics that inspire his illustrations. Daniel is a graduate from the Illustration degree at the University of West England.

I’ve always been inspired by achieving some degree of realism in my artwork. Contemporary realist portraiture has been a continuing influence in the development of my work. I’m fascinated by the world around me. Both my mum and dad were always big on reading, advice my dad would sit on the same patch of the sofa, reading the Guardian front to back for what seemed like hours each evening. His fascination with the world around him, simply his awareness of current affairs really intrigued me. I like to think he enlightened me to a lot of information. Always encouraging me not to take the things I have for granted.

Secondly I’m inspired by ordinary stories, I worked for a number of years during college and university holidays as a cleaner at the John Radcliffe hospital in Oxford. The job was a true life-experience. Not only the nature of the job itself, which consisted of working within sometimes distressing situations and environments. But also the people I got to know through working there. The cleaning staff comprised workers from all over the world, all with unique and amazing life stories that definitely affected the way in which I consequently look at the world. Their varying cultures, ideals, views really opened my eyes to a lot of things that in any other job I don’t think I would have been so fortunate as to experience. The many long hours I spent mopping floors, cleaning toilets and sitting on upturned mop buckets in cleaning cupboards chatting away with colleagues has continued to influence my thinking and motivations in regards to my artwork.

danielmacnaboe3

How do you decide which medium is best to represent your ideas?

I initially stick with what it is I know best, and from there let the ideas and aesthetics I’m exploring influence the mediums I use. I always begin with pencil and paper, and progress from there. I really enjoy printmaking, and spent a long time at University exploring hand-drawn and four-color photographic lithography techniques. I’m drawn to mediums, which complement my drawing, and general practical approach.

danielmcnaboewill

I allow the materials I use to help me form my ideas. I’ve always, for as long as I can remember been very much drawn to working with pencil and paper. It’s the simplicity of it that I get a kick from. I love rendering images onto the papers surface, in a similar way as to how I love watching a photograph develop in a dark room. I have a tendency to work slowly and methodically on each piece. I’ll never forget an art teacher telling me there are no lines in real life, and ever since have tried to avoid harsh, linear marks in my drawings when aiming towards realism. I tend to work softly and gently with my materials.

danielmacnaboe

What has been your favorite self directed illustration project?

The project I produced for my degree show at the University of the West of England. I chose to spend my last few months at university focusing on portraiture, this being a field I was keen to pursue after leaving University. Initially I was working through old family photographs for inspiration. I came across an image of my grandfather, a crisp military portrait of him in his first year as a U.S. Marine at age 18. What struck me was his youthfulness in the photograph. His innocence, and maybe naivety that was to be sadly short lived. It was interesting to me pondering that we were roughly at the same points in our lives, but under such different circumstances.

danielmcnaboesilver for hobbs!

Through consequent research I discovered he was deployed in the third wave of Marines onto the Japanese island of Iwo Jima on the 19th February 1945, and was incredibly lucky. Of the 340 U.S. Marines in his company only 17 of them, him included survived, many of them wounded. In one of my drawings for the project, I rendered a photograph depicting my grandfather and a very good friend not long before they were deployed to Iwo Jima. I later learnt that his friend never made it off.

On return to America My grandfather was awarded the Silver Star for gallantry in battle. In total 21,703 Japanese soldiers were killed on the island, and 6,825 U.S. Marines, with 29,909 American casualties over a 36-day period, a figure greater than the total Allied casualties on the D-Day landings.

I decided to produce a series of images concerning his early life. From growing up as a young boy during the Great Depression in rural Illinois through to his time serving in the South Pacific during the Second World War. The time I spent rendering these images allowed me to put my own life into some sort of perspective.

What I seem to get most out of portraiture, whether it be portraits i’m working on myself or other peoples, is simply just gazing, trying to relate with the subject.

danielmacnaboe1

What was the thinking process behind the project?

Depsite living thousands of miles apart, I’ve always felt very close to my grandfather, and his experience during the war struck a chord with me. He is a quiet man, who is now 86 years old and very rarely mentioned his service. I was keen for the work to form a kind of homage to him.

I guess the way I work is process based. I accumulate a collection of images that best convey what it is I want to express, and then begin rendering from them. As work progresses it gives me more ideas as to how I would like to develop further. As I was working on the portraits of my grandfather I began to employ collage, Photoshop and printmaking to try and convey a particular aesthetic I thought was missing from the drawings. I loved the smokey aesthetic of the old black and white photographs I was studying, so I consequently decided to work with an assortment of soft-very soft graphite on smooth and thick off-white
cartridge paper.

danielmcnaboephill

I experimented with drawing in reverse with coloured conte pencils on black paper. Both techniques worked well. I also painted with Acrylic onto smoothly sanded gesso on Board. There were a couple images of the farmhouse my grandfather grew up in that I was keen to incorporate, and I felt the best way to represent this would be to move on to paint.

Throughout the duration of the project I maintained a keen interest in the aesthetics of old documentation. I loved the qualities of the old military papers I was looking through.

Categories ,collage, ,Daniel MacNaboe, ,illustration, ,Photoshop, ,second world war, ,University of West England

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