screen print

SHEPARD FAIREY

(1970, South Carolina, US)

Frank Shepard Fairey is an American contemporary street artist, graphic designer, activist and illustrator who emerged from the skateboarding scene. He first became known for his "Andre the Giant Has a Posse" (…OBEY…) sticker campaign while attending the Rhode Island School of Design (RISD), which appropriated images from the comedic supermarket tabloid Weekly World News.

Fairey's first art museum exhibition, entitled Supply & Demand (as was his earlier book), was held in Boston at the Institute of Contemporary Art during the summer of 2009. The exhibition featured more than 250 works in a wide variety of media: screen prints, stencils, stickers, rubylith illustrations, collages, and works on wood, metal and canvas.

As a complement to the ICA exhibition, Fairey created public art works around Boston. The artist explains his driving motivation: "The real message behind most of my work is 'question everything'."

In July of 2015, Fairey was arrested and detained at Los Angeles International Airport, after passing through customs, on a warrant for allegedly vandalizing 14 buildings in Detroit. He subsequently turned himself in to Detroit Police.

Watch this video of OBEY:


HUSH

(1976, Newcastle, England)

HUSH, inspired by detritus, uses futuristic silvers and blacks clothed in a chaotic collage of colour to create a sensual blizzard of femininity, power and loss. Painted in grayscale, often with the eyes blacked out, HUSH's female faces are dehumanised. By reducing them to shells of sexuality, he perfectly encapsulates the transient nature of modern life as well as the timeless forces of passion and desire.

By action painting these faces from history, he achieves "pure expressionism". The collage-effect backgrounds are screen-printed and hand-painted, then the graffiti elements added by hand in the action painting style, sometimes over many months. The final layer of colour replicates sheets of flyposters peeling from our city's walls whilst the Bravura use of aerosol on the portraits lends the pieces a futuristic sheen, echoing the seductive promise of technological fulfillment.

"Some people think my women are serene, others that they're scary. What is clear is the power of their sensuality", says HUSH. The portraits he paints are imposing and alluring, yet confrontational and unobtainable. The implication being that while the pleasures of modern life are fleeting, the succubus legend remains the most potent, rewarding, and perhaps destructive compulsion offered to man.

Watch this installation video by carmichaelgallery: