Following hot on the heels of some great puppetry at the London International Mime Festival, the Barbican is hosting the new show, The Devil and Mister Punch, from the renowned Improbable theatre company.

Founded in 1996 by four artistic directors, this production was put together by Julian Crouch and is based on an ongoing obsession with the tradition of Punch and Judy. Here he picks apart the darker aspects of this strangest of British traditions… I mean, think about it: a man who beats his daughter and his wife? A rampaging crocodile, here in the UK?!

The Devil And Mr Punch by Gareth A Hopkins.

An assortment of strange characters joins the more familiar cast, including dancing piglets, a typing dog, a singing bull and a scarily oversized Punch. The cliches of puppetry are picked apart with delightful knowing, the live folk music which accompanies the action is exquisite, the staging is incredibly clever and best of all it’s very funny!

The Devil and Mister Punch by Mat Pringle.

The Devil and Mister Punch by Jason Lear.

I can’t remember when I last saw a Punch and Judy show: just when it looks as though this strange tale may be in danger of dying out the Improbable performance is a timely reminder of the stories that have shaped our national psyche. Look out especially for the underwater scene and a body popping skeleton – some of the more surreal tangents ensure that not all of it makes sense, but The Devil and Mister Punch is a great way to spend an evening.

Click here to view the embedded video.

The Devil and Mister Punch plays in The Pit until the 25th February and is a must see for anyone interested in history, morality or social mores as well as contemporary set design and staging. More details can be found on the Barbican website.

The Devil And Mr Punch by Gareth A Hopkins.

What kind of feedback did you get from exhibiting at Pick Me Up last year?
The feedback and response from Pick Me Up was huge. I got a lot of positive words of support from other creatives and fans. After the show, Gavin Lucas from Creative Review wrote a nice piece about my work. Also, I have started a relationship with Nobrow, who invited me to be in their 6th issue, and am working on more projects with them as we speak. As another positive note, my work on display sold out, which hopefully means people liked it.

Tell us more about your illustrated Skitsch catalogue, how did that come about and where did your Mr. Bello character come from?
The Skitsch catalog was a project made in collaboration with Apartamento magazine. I worked with them previously on a coloring book for their 4th issue, so they were familiar with my work. Skitsch approached them to create a character and narrative around their products and designers. I think they liked my style and color palette, so they chose me to illustrate a small booklet. The Apartamento team along with Skitsch developed the idea and character traits of Mr. Bello, and I worked on the look, feel and development of him and his world. There was a lot of back and forth concerning the way everything looked, but it was worth it and I’m very happy with this project that had a lot of exposure in Milan and London.

I love Kiehl’s – but I wouldn’t necessarily put your drawing style together with the cosmetics brand. And are you a Keihls man? tell the truth now… what’s your favourite guy beauty tip?

Click here to view the embedded video.

What were your favourite projects of 2011 and what are you looking forward to in 2012?
Participating in Pick Me Up was a major highlight of 2011 and for my career in general. Being part of something so big, and along with so many talented people was insanely awesome. I met some heroes there like Tom Gauld, NoBrow and the It’s Nice That crew to mention a few. Rob Ryan even picked up a piece of mine!

Another great project I enjoyed doing was a comic interpretation of Madama Butterfly. It was made for the Bavarian State Opera House’s magazine Max Joseph, which is the coolest opera publication imaginable. They gave me four spreads and free reign to interpret Puccini’s classic play in my own style and visual world. The project entailed quite a bit of research and translating as the final story was in German, and even if I can’t read it, I’m very happy with the final result.

This year, I am really looking forward to participating in Pictoplasma Berlin. I will be giving a talk and showing some work as well. I was a part of the NYC version last year and it was a blast.

How would you describe your drawing style?
Fun on the outside, slightly dark on the inside.

What are the bonuses of working pastel colours? 
I am naturally prone to using brighter colors in my work. I am technically color blind and have a difficult time distinguishing between muted tones. However in certain cases, I really like the contrast of my clear line style paired with pastel colors, and it’s a nice way to break out of my color comfort zone.

What are the good and bad things about living in Philadelphia?
Good thing is the location, with an International Airport. There are plenty of good art stores too, so that is a major plus. Bad thing is it’s a bit of an anachronistic city.

Why are books so good?
Books are the best. They smell good and the tactile quality is irreplaceable.

Where can folks in the UK find your work, other than online?
Good Press in Glasgow sells my latest zine with Nieves (above). Nobrow features my work in issue #6. I have a full page in the first issue of Cagoule published by Present Joys.

And Lazy Oaf sells some T-shirts I made.

In the future I hope to have an even bigger presence in the UK! *so do we!* Check in with the latest work by Andy Rementer on his website.

The Aviary is the brainchild of two fine art graduates, Victoria Foster and Ben Fletcher. In late 2009 the project began life as a way of upcycling the ever-growing array of clutter that surrounded these inveterate magpies, by re-appropriating curios as jewellery, charms and stationary. The couple have a commitment to living mindfully in all they do: read on to discover more about their inspiring outlook on life, where to hang out in Kent, and how their latest illustration collaboration came about.

Autumn Breeze vintage pendant.

Hello! firstly, I didn’t realise you live in Kent. What took you to Kent and whereabouts are you? What do you recommend that visitors to your part of the world should do? 
Hello! Well, we came to university in Canterbury and haven’t been able to tear ourselves away from Kent since! Recently many of our friends and contemporaries have made their way to the bright lights of East London, and although we’re often there, we made a conscious decision to reject the trend and have now set up our home and studio on the stunning North Downs, between rolling fields and a forest! Perhaps growing up on the outskirts of the Big Smoke spoiled the magic a bit.

Ben in the woods.

If you’re heading away from London for a day or two, these are some of our fail-safe favourites! Maybe we should get sponsorship from the Kent tourist board?! Stour Valley Arts is based in Kings Wood on our doorstep, and most loved works have to include Jem Finer’s Score for a Hole in the Ground and London Field Works Super Kingdom.

The second Folkestone Triennial took place last summer and the town now houses an array of permanent artworks by artists such as Cornelia Parker and Mark Wallinger that allow you to encounter a faded seaside town with fresh eyes. There’s also some interesting creative collectives like Diver School who provide good nights out and a great burgeoning underground music scene thanks to Box Social Records who put on great gigs. Very excited about Tall Ships on Wednesday 1st February!

Turner Contemporary in Margate has a brilliant programme of exhibitions, and the Old Town is now full of gorgeous vintage stores like Showtime Retro, cafes and independent, ethical shops like Blackbird that champion designer-makers as well as running great workshops. And of course, there’s the cobbled streets of Canterbury where coffee at Boho is a must, then seasonal food, cocktails and bad dancing into the early hours at The Farmhouse.

Summer is the best time to be here for impromtu beach gatherings, sea swimming and woodland walks. It really comes to life with the yearly arrival of Lounge on the Farm music festival. Sondry Folk’s inaugural jamboree was pretty special last year too.

The Aviary grew out your love of hoarding charity shop finds, something that I suffer from myself, any tips on how to make the most of such finds within the home?
Ha! Well, our studio is in a state of perpetual chaos, and is in serious danger of looking like a room from Grey Gardens. However, since relocating to the sticks we have been a lot stricter with what vintage and thrifted finds are allowed across the threshold from our workshop and into our home. We’re in no way stylists but do both love domestic interiors. As a rule of thumb we favour decorative yet genuinely functional objects. Either they must be of use at home, or work well as props to display our work against. Obviously there have been a few special exceptions! Small grouped collections are always better than cluttered surfaces, and mixing up the old with new and handmade stops our house looking like a local history museum, or worse still, a care home! One of the best things about living in Kent is that bargains can still be found in local charity shops, boot sales and flea markets. We picked up our antique organ for a fiver, a beautiful 1920s portable typewriter for £3.50 and an ornate gold mirror out of a skip!

Charm pendant.

Your products are exquisitely made, can you tell us something of the process? Do you ever find it hard to dismantle or cut up old things?
Thank you! We place a lot of importance on craftsmanship. We’re both pretty fastidious about the finish of our products so it’s lovely to know it shows. A clear desk, a box of favourite finds, a sketchbook and pen, scalpel, pliers, piercing saw and files, blowtorch and solder, along with patience, tea and 6music are the bare essentials at the start of our design process! All of our jewellery and accessories are, wherever possible, made from reclaimed, recycled or preloved items. Gathering these disparate fragments of vintage ephemera, taking them apart and then making temporary collages from them is always the first process in translating them into new, one-of-a-kind pieces. Sometimes the decision to dismantle a particularly old, or rare item can be difficult, but usually the items that we are using have already come to the end of their previous useful lives either through decay or neglect so we feel that we’re rescuing them from being lost to landfill, or simply forgotten about. It’s as much about uncovering aspects of lost stories as it is about upcycling existing materials.

pocket watch case collage pendant.

Why is it so important to you to be sustainable in your business practice?
Without wanting to sound trite, we really see The Aviary as an extension of the way we’re trying to live. For us, being in an incredibly rural community is about learning to slow down a bit, adopting a more sustainable lifestyle. We feel it’s impossible to justify cheap mass produced items and a ‘throwaway’ attitude when the impact of climate change and the strain on resources is already so evident. Therefore the only option left to us as contemporary designer-makers is to create sensitively and responsibly. As makers, it is also wonderful to see a design through from start to finish. Thankfully, we also adore the aesthetic of low impact materials!

How did you get from fine art to handmade limited edition products? Were there any bumpy moments along the way and how does your partnership work?
Our practices always seemed to mix fine art concepts with craft-based techniques so the transition has mostly felt like a natural progression. We still employ many of the same skills too, such as illustration, collage, assemblage and small sculpture. After our degrees we were both still making work, exhibiting and interning for artists and arts organizations, but working within the confines of limited studio access and equipment meant we started to reassess things. The final ‘change’ came after taking part in the 2009 Art Car Bootfair with our collective, Club Shepway. Selling our first, unofficial range of miniature fine art works and curios went down a storm. We haven’t looked back since! As a partnership we work alongside one another to create overlapping bodies of work that then form our collections comprising of individual pieces. It’s so helpful to have someone to share ideas with and perhaps enables us to be more ambitious yet playful. The only thing that is less fun is bickering over who does the greater share of the admin! There are still bumpy moments, mostly involving money and time, but on the whole it’s been brilliant. It has taken a couple of years to shake off the art school guilt and officially ‘come out’ as designer-makers, but we’re getting more confidence in the integrity and worth of our products.

Harriet Gray illustration collaboration.

You have recently collaborated with some illustrators, including Gemma Milly who appears in ACOFI, how did you hook up with them and what were you looking for in a potential collaborator?
To be honest, the collaborative projects stemmed from frustration! Surrounded by a sea of half-made collections, half drunk cups of tea, scrawled lists, collages and quick sketches we felt in desperate need of some fresh perspectives – something that we probably took for granted whilst at art school. We put a call out via Twitter asking for young illustrators who would consider working with us to communicate the nostalgia and uniqueness of our trinkets and treasures and reflect back the kind of girl they thought would wear our jewellery. We were completely taken aback by the number of creatives at similar points in their careers who also wanted to join forces but quickly settled on three incredible illustrators – Harriet Gray, Gemma Milly and Scarlett Rebecca, not only because of their amazing technical skills, but because we felt that they, and their work shared a similarity in spirit to ours.

Gemma Milly illustration collaboration.

What have you produced with these illustrators?
The girls each created a range of beautiful illustrations using a selection of samples we sent them as their starting points. They took our trinkets and treasures and translated them into something more than the objects themselves. In return, we are now in the process of making a small collection of pendants and brooches based on their illustrations. This collection won’t be for sale but will be documented and shown online alongside the original drawings. The project has opened up new and exciting dialogues about our work and has really helped push fledgling ideas forward, as well as being really fun!

Scarlett Rebecca illustration collaboration.

You are featured on Not On the High Street, a great website for independent designers. How did you get together?
Well, we’d heard a little about NOTHS.com through friends and fellow designer-makers. After making some tentative enquiries we were really pleased to be invited to become a ‘partner’. It seems to be a brand that lends another layer of credibility and professionalism to our little venture, which has helped with making other retail and press contacts. We’ve been impressed with the functionality of the site and the control we’ve been given over the content of our ‘shop front’ with them. They’re very supportive of young businesses and allow us real flexibility.

Deer one pendant.

Where else can you buy Aviary products? 
We’re so lucky to stock with some fantastic independent shops across the UK! We currently have collections on sale with Of Cabbages & Kings in London, Pretty Scruffy in Chichester, Chapter Arts gallery shop in Cardiff, Made in the Shade in Glasgow and in the very near future we’ll also have ranges available at Moonko in Sheffield and Lionstreet Store in Rye.

double sided pendant.

If you want to come and see us in person we’ll be at Love Handmade? Valentine’s Fair in London on Saturday 11th February as well as the Designers/Makers market at Old Spitalfields throughout the year.

What are you most excited about working on at the moment?
So many things! In some ways, this is the best time of the year for us because it’s the recovery time following the Christmas rush. We’re currently developing new collections looking at charms and amulets because of having this time to be playful. And we’re having a bit of breathing space to concentrate on other side projects, such as Ben’s Tatterattles EP release on Holy Ghost Records. We’re also really excited about other future collaborations, putting together a ‘proper’ look book with a great photographer, and having chats with potential summer interns!

What were your surroundings like growing up?
I grew up in a small town outside Paris –Dad is a teacher and musician and Mum is also a teacher, and always interested in interiors. Our home was filled with textiles, and we were close to the country, so there were lots of trees around –all these aspects influence my work.

Did you study illustration, or did you come across it intuitively?
I knew quite early on that I wanted to do art, and in the last two years of high school it was my specialty subject –I was always interested in using ink, thread and stitching. As a teenager I first thought of being a theatre designer because I liked the idea of creating a world or atmosphere, and I think this still what I am trying to do when I work on a series of images.

So how did you come to be in London?
I arrived when I was 17 and did a foundation course at the London College of Communication in Art and Design. It was exciting to be somewhere with such an international mix of people, and it felt right. It was also great to be working across different mediums. I started illustrating because I don’t write, but I still wanted to tell stories. So I began creating characters of little people who look a bit like animals. My first series The Little World of Woodies was really a turning point.

When we first met you mentioned your love of fairy tales, which ones in particular have proven influential?
Little Red Riding Hood is definitely my favourite, but I’m interested in fairy tales from around the world, for example Inuit tales. And you’ll notice trees are always present, which is a recurring setting in many fairy tales. My fascination with fairy tales stems from the fact that on the outside they look cute, but behind them is something darker. This is what I am looking for when making my work.

Are there any types of art or illustrators that have inspired you?
I wouldn’t say that I am influenced by him, but I really like Edward Gorey because I’m interested in the way that he subtly conveys a really dark humour through lovely drawings. Also Annie Berbault, a French illustrator who again subtly deals with adult themes behind childlike collages.

Worry dolls

How does your creative process work?
Usually I will start with a story, or a commission for an exhibition, then choose my colours and fabrics in advance. I used to sketch but I don’t tend to do that much anymore, instead I will turn some music on, write down some words as inspiration, and get started. The fabric/pattern and colour of the paper and fabric I use are inspirational, for their shapes and patterns. Later, I might edit down my pictures or reorder them. I like to leave space in my pictures, and some people tell me that it resembles Japanese art in that way. The space is really important and having room between the words means the drawings are open to interpretation, people can make up their own stories.

‘Hair’ from Passing On

When did you start exhibiting, and what do you enjoy about it?
It was when I was first at college and we did a group show, and then later at Craft Central. I also went to Hong Kong to exhibit early on in my career, a TV crew came and it was crazy! And I have had exhibitions in France and Scotland. I love exhibiting and I like creating something for and working in the space I have been invited to.

And what are some of the challenges in your work?
The paperwork. Maybe some people are good at the admin side of things, but it’s not for me, I want to be illustrating. Collaborating can also be a bit difficult if you differ with others in your tastes, but I am growing to like this a lot more.

Weaving from Seashanties

How would you describe your work?
I make children’s books for adults, but also books to go with music. I’m interested in animation and puppet-making, I like to see what you can do with things in 3D. I would like to do more scenery and characters in 3D, like little sets from my illustrations.

What is it like to be working as a young artist in East London?
It can be tricky if you aren’t making a living out of it, though the idea of what an illustrator can do is much more expansive now. I love living here, and I like the extreme difference of derelict buildings and newer ones, and the fact that you find quirky little places. Twelve years ago Brick Lane used to be really underground, it’s more uniform now but I still like it and feel like a part of a community.

Woodland Creatures

Do you have any projects planned for the New Year?
I want to travel! To Japan, and also maybe a road trip through America. I will be working on a new collaboration with a writer, though that’s still a bit of a secret…

Visit www.julievermeille.com for more of Julie’s work. Read our Made in Clerkenwell – Winter Open Studios 2011 review featuring Julie, along with other Craft Central artists and designers.

I’m always a bit of a sucker for pearlescent materials: Chris Wood (also with Byard) favours the medium of Dichroic glass for angular abstract patterns.

It’s great to see an upsurge of interest in textile art. Claire Moynihan works in detailed felt and embroidery, and is best admired up close – her ‘moth balls’ are beautiful.

On the second floor of the exhibition I was able to pop in on Justin Hammond, hosting a display of great new Catlin Guide commissioned art pieces.

My favourites have to be Hannah Harkes (with a cowboy snogging an Indian) and the naif folk art of Tom Howse.

Next door Chris Pensa of Love Art London talked me through some of his upcoming tours – check out their website for ideas, I fancy me a tour with the fossil hunter! Read my review of an earlier tour here.

A strong theme of disaffection unsurprisingly runs through many artworks, including Laura Jordan’s Run Riot Run, an intricate map of the riots, shown with Galleryone.

Oona Hassim took as the starting point for her oil painting a photo of the Anti Cuts Demo in March 2011 in Piccadilly Circus. If I’m not much mistaken this is the UK Uncut parade that led to Fortnum & Mason – despite the blurry feel I recognise it, because I was there – those flags are a dead giveaway. The pieces are oddly energetic and beautiful but how odd to see direct action flogged as fine art!

Click here to view the embedded video.

At Woolff there was lots of upcycling going on. Special mention goes to Joanne Tinker who created rows of goblets out of sweet wrappers.

Susila Bailey-Bond is another butterfly papercut artist, concentrating on their decorative qualities.

Jess Littlewood at The Contemporary London collages together monochrome otherworldly scenes that are very ‘now’. Like a lot.

Porcelain, ink and wool are the preferred medium of artist Juz Kitson, who created wall installations of skulls, pulsating hearts and corals.

For the Cynthia Corbett Gallery Ghost of a Dream have produced an amazing collaboration that I first spotted at the graduate art fairs that I visited in abundance last year. The installation uses lottery tickets and the covers of romance novels, which are glued in patterns onto panels, mirrors and chandeliers.

Irish/Carribean artist and film director Zak Ove at Vigo Gallery cobbles together found objects to create religiously inspired ensembles.

At Bearspace I recognised Reginald S Aloysius from the 2011 Jerwood Drawing Prize. His overgrown temples are intersected by the paths of cross atlantic planes.

Jane Ward imagined a disturbed dystopian future of exploding buildings. I hope we don’t end up there!

Lastly I can’t go without mentioning the huge Nomad light sculpture by Beau McClellan in the entrance to the design centre: yours for just 250,000 euros. One for those Russian oligarchs me thinks.

You may remember from my previous blog that the launch of The Catlin Guide for the best graduate artists took place at the London Art Fair last week. I popped along to the Islington Business Design Centre to check out the completed guide, suss out which galleries are showcasing the best new talent, and find out what trends are hot in the art world right now.

Annie Whiles, detail.

First up at Danielle Arnaud I loved work by Annie Whiles, using simple line to create iconic shapes.

Simon Lewty, detail.

Simon Lewty for Art First showed amazing inked drawings: it’s well worth checking out the rest of his work.

Annie Morris, detail.

At Pertwee, Anderson & Gold, the first in a common theme was evident, rows of stuff: in this case hundreds of pegs, each decorated with a crudely drawn female figure. This Peg Piece was created by artist Annie Morris, who rose to fame after illustrating the children’s book The Man With the Dancing Eyes by Sophie Dahl.

Andrea Mastrovito, detail.

At Foley Gallery Andrea Mastrovito used intricate collaged paper for the Gulliver’s Travels series, which imagines a brightly coloured world of little people and puppet hands.

Diamond dust is hot news for use in prints, favoured by the likes of Damian Hirst, Peter Blake, and Justine Smith at TAG Fine Arts. Her lovely limited edition print of a bank note British Isles features oodles of the stuff. Common glitter was also a favourite enhancement for many artists.

Also at TAG I loved the work of Claire Brewster. The Harbingers featured exquisitely cut and mounted birds, created from old maps: Maps are another massive trend, reworked into any manner of different outcomes. Good to see so much upcycling!

Tobias Till showed a fabulous set of prints – the London A-Z, available as a boxed set and selling very well if the red dots were anything to go by.

Witness – Detail, by Rachel Shaw Ashton.

Of course TAG also host the work of Rob Ryan (read a review of his TAG art exhibition in 2010 here). More beautiful papercutting (still a massive trend) came from Rachel Shaw Ashton, showing with JaggedArt. She layers paper with pins to create simple shapes in pure white to great affect.

I was also drawn to the 3D sculpture by Tracey Bush. Little Clod of Earth is a clump of wild plants made from the dog ends of paper packaging – oddly beautiful and strange.

JaggedArt also hosts the work of Francisca Prieto, who once more works with old atlases and maps to create beautiful 3D repetitive works of art. We wrote about her recent exhibition Unbound.

USA based artist Charles Fazzino creates astonishing scenes with layers of paper. He calls it 3D pop art; showing with Galerie Olivier Waltman from Paris.

On a completely different tangent I was surprised to see the work of fashion photographer Derrick Santini, who showed lenticular artwork with Scream. Forget those cheesy Jesus postcards, these artworks feature an astonishing amount of different angles. I can see city types absolutely loving one of these on their penthouse apartment walls!

Russian Bear by Karen Nicol.

The Rebecca Hossack gallery always hosts interesting craft based artworks: Karen Nicol’s Thread Bear utilised a vintage piece of French needlepoint as the basis, into which pieces have been embroidered and appliqued. I have a bad photo so here’s another similar piece.

Rebecca Coles also shows with Rebecca Hossack – you can read our extensive interview with this paper artist who specialises in butterflies here.

Rounding a corner I was pleased to see a wall of artwork by Simone Lia, who sells prints with Jealous Gallery. Her infamous Hello Sausage Hello Chicken has just been reissued in a new colour range. The gallery are also the purveyors of the prints from the Ghosts of Gone Birds exhibition, including the fab Ralph Steadman birds (read my review here).

More coming up shortly… don’t go away! *here’s part two of my review*

The London International Mime Festival has quickly become one of my January highlights – c’mon, what else is there to get excited about during this miserable (taxing) month? – and my first performance of the season was a puppetry show at the London Roundhouse. The puppetry shows are always appealing because they invariably showcase some stunning leftfield creativity of the type that would never find its way onto a bigger theatre stage. And the Mime Festival picks out the cream of the crop so you are almost certainly assured of an interesting performance.

Plucked… a true fairy tale was created by new company Invisible Thread, directed by Liz Walker, who is a former director of the Faulty Optic theatre of animation. She brings her expertise in creating ‘cronky mechanical sets‘ and odd animated figures to her new project, which features a couple of bird people, a baby train, a little person with a hammer in its head and a wolf with a detachable penis that looks like a hallucinogenic mushroom.

Plucked, invisible thread by Katie Chappell.

The story (such as there is one) sprawls across two scenes, with near life size figures manipulated by Liz and cohorts. Despite the fact that the puppeteers are very much part of the stage you soon loose sight of them and concentrate on the oddball puppet characters instead, who take us on a meandering story that is explained by poetry and a beautiful lightbox paint brush animation.

The allegorical story told by Plucked is by turns touching, amusing (puppet shagging is a first for me, as is puppet birth) and thought provoking. Suffice to say that our love affair with television has a lot to answer for! Keep an eye on Invisible Thread to follow their next projects. This show ends on Sunday 22nd January, but there are plenty of other shows to see at the Mime Festival.

All photos provided courtesy of Rebecca J Coles

Where did you grow up, and are there aspects of your childhood which you see as being influential on your work?
I was born in Bath, we moved to Yorkshire a few years later until I was ten, and then returned to Wiltshire which is where I grew up. The only aspect from my childhood which I can see as being influential to my work is that I was always creative as a child. My mother was an infant school teacher and very artistic, so it was natural to be making something whether it was a den in the garden or cutting out paper and making collages.

You now live in Frome, Somerset – what is it like to be living and working as an artist there?
Frome is a wonderful town, and is quite the creative hub. There are artists of all disciplines, musicians and writers who live here, and we are lucky enough to have two theatres, the Black Swan Arts and Rook Lane Arts, both of which continually host new exhibitions, the artisan market that is held monthly, along with independent boutique shops which all make the town quite special, encouraging a genuine interest in the artistic field.

With a Masters in Constructed Textiles from the Royal College of Art, London and a specialisation in woven textiles, how did your studies inform your later work?
In response to my current work, a friend from the Royal College of Art said ‘well that makes sense‘. Referring to the comparison in that my work is still labour intensive and repetitive. As a weaver, threading the loom was a process you either enjoyed or hated. I loved the process. It was somewhat therapeutic, even though viewed as tedious, and that repetitive notion is ever apparent in my current paper art… cutting out hundreds, if not thousands of butterflies, then pinning them, then positioning them onto their specific heights on the pins, and then positioning them on the board where they will stay.

How would you describe what you do as an artist?
I’m an artist who creates paper assemblages which are encased in box frames. I focus on the reinvention of entomological cataloguing, display and the play of shapes.

Previously, you have mentioned your fascination with the process by which three-dimensional forms materialise from flat sheets of paper – can you tell us more about this transformation? And how did you decide on paper as your medium of choice?
Using paper was such an intuitive decision. It is such a malleable medium, and the childhood practice of folding a piece of paper in half and cutting out a butterfly to show symmetry seemed apt when experimenting for my current work. I used to cut out sections of my sketch books at college, and became interested in seeing how you, as the viewer, can be made to observe something that’s not actually there, or focusing on a small section of the overall image which becomes a different when it’s dissected. Using pages from magazines became quite integral to my work….

Tell us about the process of creating your pieces, are they carefully planned with distinct stages, or do they come together organically?
It depends! Some are very much planned from the colour palette, size and shape, and the end result depicts the original idea. Others are organic. Most start with a colour story….I collect the paper to be used, and then start cutting out the butterflies. I then decide whether I think the butterflies should be positioned on the base, or at the top of the pins, and then I start to build the piece. If I am creating a series of work, such as ‘Stamps’, because they require butterflies of all shapes and sizes, I may spend a week solely cutting them out, to then create the pieces later.

Butterflies feature across the art of many cultures – how did you come to choose them as one of the focuses of your work, what do they symbolise for you?
I’m afraid they don’t symbolise anything for me apart from being a beautiful silhouette to work with. I used to work in a boutique that sold feathered butterfly garlands, so when I started to cut out paper, I started cutting out an incredibly naive butterfly silhouette… and when I returned to this idea, I started to focus on their true shape.

Your pieces are obviously delicate, involving a great deal of repetition and close attention to detail – what are the challenges associated with this, and how do you manage?
I once suffered with RSI (repetitive strain injury) which made me realise that I must alternate my work and that I can’t cut out all the time for long periods of time. I just alternate the processes of my work now.

Are there any particular artists whose work you admire or turn to for inspiration?
Artists I admire would include Wycliffe Stutchbury and Helen Beard. I wish I had her illustrative skills…..

You have exhibited extensively throughout the UK over the past year. How did you begin exhibiting your work and what have been some of the highlights?
I approached a gallery in Bath who accepted my work, and have continued to showcase my art since. I then exhibited at Origin (the Contemporary Craft Fair in London) last year which led a lot of galleries approaching me. I was fortunate enough to have the London gallery, Mark Jason, select some of my work to take to the art fairs, which has been great.

Do you have a particular goal or hope for the pieces you produce?
My only goal is to continue selling my work, and that I continue to push forward my ideas. I hope to work on a much larger scale whether it be framed pieces or an installation piece.

Are you able to share with us any plans for 2012?
I am hoping to exhibit in Australia earlier this year, which would be a great opportunity to showcase my work internationally…. and I do have several ideas for new work….so watch this space….

Visit Rebecca’s website www.rebeccajcoles.co.uk for further details.

Amelia’s Compendium of Fashion Illustration featured illustrator Antonia Parker talks us through her year… be inspired!

You’ve said that the launch party for ACOFI early last year was a great kick start to 2011. Why do you think meeting people in person is so important when it comes to gaining work and making contacts in the creative world?
It was really fun illustrating live at the launch. I like to chat with my sitters as I draw them, because it’d be a bit odd to study someone so intently and not try to get to know them. As a result, it was really handy for meeting people. It was also a really happy event, so everyone I met that evening was pleased to talk. It’s ridiculous how much of the work I’ve received this year has been down to the people I met that evening or since on Twitter.

Laurel Harple.

Heather Stanton.

One great contact you made was with my partner Dr. Hauschka. What did you create for Heather Stanton and can we see a sneak peak here?
Heather was milling about at the party and looked very friendly, so I grabbed her for a portrait. We’ve kept in touch since, and she commissioned this illustration of her husband for his birthday. 

Will for Heather.

One Mango Tree.

You then worked on the Africa Fashion Guide project, which I believe featured a number of Amelia’s Magazine illustrators. Can you tell us more about that?
Jacqueline Shaw got in touch after the ACOFI launch for a book she was putting together about ethical African fashion. I illustrated One Mango Tree and Eki Orleans, which was great because they both use such gorgeous patterns.

Eki Orleans.

The book launched in September and we were treated to an ethical fashion debate with the LCF Sustainability Centre and the Ethical Fashion Forum, chaired by Eliza Anyangwe of the Guardian.

Ashish S/S 2012 by Antonia Parker.

You’ve been creating imagery for Amelia’s Magazine for London Fashion Week for some time now… why do you enjoy being involved with this part of the magazine so much? What do you think it has helped you to achieve?
I love illustrating for LFW, because it is two weeks of full-on illustration. Not only do I get to discover new designers, but it’s a great time to experiment because you churn out so much work over a short period. When I look through my past work, my favourite pieces tend to be ones I’ve made during Fashion Week. 

Astrid Andersen S/S 2012 by Antonia Parker.

You are a very hands on illustrator and you love to work live as part of a participatory experience, can you tell us more about your handmade photo booth?
I like working live, because it scares the hell out of me! There is so much pressure drawing someone in front of you and handing them their portrait there and then! It’s a risky process and it doesn’t always go to plan, but you make the best of it. I built my handmade photo booth from cardboard and foil a couple of years back and took it to zine fairs – I sit inside the booth, customers come and sit in the other side, I draw them and then post the illustration through a slot in the side.

What are your photo booth plans for the future?
I’m planning on building a more portable, weatherproof version of the booth and would like to spend the summer touring around the UK, illustrating passers-by. Imagine sitting next to the beach, drawing in the sun! Lovely!

Tell us more about the Dexterous Diva… what is it and what did you do for it?
Jo Gifford writes for her blog Dexterous Diva, in which she discusses everything from running, parenting, beauty and working as a freelance creative. She was looking for something bright and exciting to jazz up the blog. It was really fun rebranding the site as she had a good idea of what she wanted, and as a synasthete loves bright colours so I was able to go colour-mad. I made a new header for the blog, illustrated titles, social networking buttons and a special mindmap about Jo. Currently we’re collaborating again to create a set of postcards to raise awareness about endometriosis, a condition in which small pieces of the lining of the uterus grow outside of the uterus, causing extreme abodominal pain and infertility. Generally it take years of what is dismissed as ‘bad period pain’ for women to be diagnosed, by which time their fertility choices and quality of life are already compromised, so it’s important we raise awareness so that more women can be diagnosed sooner and are able to have more control about how they then deal with the consequences. Jo herself has endometriosis and my family are affected by it, so it means a lot to us to help other women.

You have continued to be politically engaged, getting involved with both UK Uncut protests locally, and producing your own Riot inspired artwork. What has been your involvement?
I attended the TUC’s anti-education cuts marches last year, and helped organise the UK Uncut protests in Tunbridge Wells last year. Tunbridge Wells is well-recognised as a bastion of Conservative sensibilities, so the fact that so many people were inspired to protest against the banks and tax-avoiding big high street businesses was quite a coup for the anti-cuts movement.

How do you think artists can be best engaged in political causes?
For me, creating these political illustrations is the best way to express my thoughts about the current political climate – a lot of people seem to subscribe to ideas as suggested by the media and/or the leading political parties, forgetting these groups have their own agenda. For me it’s the best way to suggest things in a succinct way that people might question the version of events they’re being spoonfed. The riots were a chance to make some self-initiated work – It is interesting how Cameron, Osbourne, Clegg and Boris were all out of the country at the time and left it a few days to actually do anything so the general population would be desperate enough to agree to whatever extreme measures they suggested. As far as I’m concerned, everything that Cameron has said about the riots since has been total rubbish, and whilst it was very very scary for those living in proximity at the time, I think the punishments that have been handed out since are too extreme. I also don’t like the connection made since between student protests, TUC protests and these riots, because the protests and the riots came from different places. It’s also worrying how readily the government are discussing watercannons, teargas and blinding lights to disperse future gatherings of people – they’re not trying to prevent future riots, they’re trying to prevent future protest.

What is your involvement with Edit Collective?
Edit Collective has been set up by fellow ACOFI illustrator Faye West as platform for illustrators to promote their commissioned artwork collectively. We’re hoping to hold a exhibition of our work during 2012.

You have also been working with other online magazines, most recently with Tantrum Magazine. What were you commissioned to create for them?
I created fashion illustrations of Courtney Love, Gwen Stefani and Karen O to accompany their piece on style icons in the music world. The women are quite different appearance-wise, so it was really fun to draw them.

Hilary Alexander at LFW.

Any hopes and aspirations for 2012? 
I am very optimistic about 2012, as I’m moving house and will finally have a studio space for the first time in 18 months! It is going to be liberating to be able to make work bigger than A4 again! I have a few projects in the pipeline to look forward to and am making more self-initiated work. This year, I’m especially hoping to get my illustrations into more printed publications. I’m also going to create a few illustrated products for an online shop, so I have a bit more control over my income from illustration. Having left London, it is harder to get to the exhibitions and exciting goings-on than it was before, so I’ll be making more of an effort to stay immersed in the scene, as I have missed it!

Antonia Parker is optimistic!

Find Antonia Parker online at Antonia Makes. You can see more of her lovely work in Amelia’s Compendium of Fashion Illustration.

Felder Felder S/S 2011 by Antonia Parker.

Arkansas based Justin Wallis featured in my first book of illustration. Since then he’s been expanding his MILKBBI online product empire, as well as participating in numerous interesting collaborations and exhibitions across the world. Time to catch up!

It’s nice to hear from you again after all this time, what have you been doing since you appeared in Amelia’s Anthology of Illustration?
Hi Amelia, since being a part of Amelia’s Anthology of Illustration I’ve mostly been focusing on creating products for my little online shop, it’s been really fun. I’m still so new to the whole thing so I’m learning. My dream is to see the MILKBBI brand growwwwwww & grow!

Justin Wallis – Combined Heat & Power page from Amelia’s Anthology of Illustration.

How is the world of the deep South? How would you describe the arts and illustration communities of the area where you live?
WELL, I will say sadly there is not much to say…..  I MEAN its growing, so I don’t wanna sound really negative or whatever. It’s an interesting place though – everyone should visit the deep south at least once :> (but probably not for its art. Woops.) Actually, everything I do (artistically) stems from the internet; I never do anything locally. Every exhibition, publication, etc. has been based somewhere else. And out of every sale from my online shop, I’ve never shipped to anywhere near my hometown. Hmmm I think I belong somewhere else! Right now I live online! 

You have recently been collaborating with Daniel Guerrero Fernandez, an illustrator in Costa Rica. How did this come about and what happened when you went to stay with him for a month?
Yes! We have both known about each others’ work for a good while. We were even in a little zine together before we knew each other :> Then one day Daniel e-mailed me asking to collaborate on some stuff, so we started drawing & mailing the results back and forth (which is a very slow process!) Visiting him in Costa Rica was something I never would’ve expected to happen last year! So unexpected – but it was so great. Living in Costa Rica was so unreal & wild for me because I had never left the USA before, & being somewhere like that… well, it was just so eye opening!!!! 

Justin Wallis’ notebook.

I brought a notebook along with me, so i wouldn’t miss out on any drawing while I was gone. I filled it up with drawings (including some I did with Daniel) & when I got back home I printed my little illustration book CACTUS ~ which I’m so proud of, it’s like a baby to me. Every page reminds me of a different place or story or whatever inspired my drawing that day :>

CACTUS art book available in the MILKBBI shop

Click here to view the embedded video.

Clip from MAMA BEAR

How is the love affair with felt tip pens and stickers? Why do you think you are so drawn to these media?
They’re so comforting! My childhood! Just a warm good feeling. Other people have told me they get the same nostalgic feeling from my drawings which is so good to hear!

How did you theme the collaborative zines that you did with Mexican artist Ines Estrada aka INECHI? And how did you work with each other from afar?
Well actually at first we decided on no theme and just started drawing. Then out of nowhere a theme just kinda popped up! Watermelon for me, & avocado for Ines – kind of a silly symbol from where we are each from I guess. Me & Ines have collaborated before, so it wasn’t anything new to work with her, but we had never attempted to do a complete project like this. We just mailed our drawings back and forth to each other, and they finally ended up in Inechi’s hands and she formed them into a zine which was printed them in Mexico & sold through her online store. I was reallyyyyy happy with this collaboration. It was like an explosion from both of us! A colliding collab! There is so much going on I think it looks like we are both fighting for more space in our drawings :> I love it.

A sneak peak photo from the collaboration with Willar.

You also collaborated with fashion designer Willar Mateo in the Philippines. What was the brief for your fabric designs?
Willar emailed me a few times suggesting we collaborate, and at first I was unsure. But I decided to do it because I had always wanted to design patterns for clothes and I thought this would be a good chance. Me & Willar both have a childish aesthetic in our work and I think that’s where we both connected. So the theme of our designs came from our love of our childhood things. Video games & virtual pets! Big shirts & baggy shorts ~ real silly stuff like that.

Animation made from post-it note drawings.

What exhibitions did you participate in during 2011, and what is happening in that area in 2012? Anything exciting that you can share with us?
I had two favourite exhibitions from last year. First was the Post show in LA at Japan LA. I was very excited to be a part of this show because so many of my favourite artists were in it and also because the proceeds from the show went to help the victims from the big tsunami/earthquake in Japan last year. Then there was a post-it note show at the Atticus Gallery in Barcelona, Spain! It was exciting to do an exhibition overseas and drawing on post-it notes was an interesting challenge!

Print available at Giant Robot show in LA.

As far as 2012 is concerned, I’m participating in the Printed Matter 10 show at Giant Robot in LA which opened on the 11th January and continues until the 25th – hello LA residents! you should go ~~~

Current available MILKBBI products!

Your own MILKBBI brand seems to be going from strength to strength. What products do you have for fans to buy?
thanks! :> The most popular recent product was a new t-shirt that I designed ~ which is almost sold out!! But I’m planning on doing more or something similar soon.

Pages from the art book CACTUS.

My favourite product is the art book CACTUS ~ its only $10 and features 65 full colour illustrations ~ to me, it’s really a special gem ♥ and they’re halfway gone! There are also other things, like notebooks, buttons, pins, bags, pouches & stickers!

What have been the best and the worst parts of managing your own brand? Any top tips for those just starting out?
Okay, bad part first ~ dealing with the post office, shipping, boring money/technical things. I think thats the part I’ve learned the most about. It’s a necessary evil! But, you know, totally worth it I guess :>

Customer photo of an order they received.

Best part!! Sharing my work with people all over the world!! It never gets old when I receive an e-mail from a customer saying how much they love what they bought & stuff like that! Sometimes they even send pictures of the stuff in their new home which is so cool ~ I love that :> I also love putting together the orders, it’s interesting to see the combinations of products people buy ~ it’s like a recipe or something. Just knowing my designs are sitting in the houses of so many people is such a cool good feeling.

Ok and here is a good tip! Don’t try too hard to please people!! I think it’s almost impossible anyway ~ when I try to make something and I start thinking too much: ‘will people like this? or this!?!?’ it just ruins everything and makes a bad drawing. Do what you like, I think it’s better that way :> I hope I’m not wrong!

Finally, what’s the best way to spend a relaxing day in the world of Justin Wallis?
Listening to Cibo Matto, playing Sega Dreamcast with Daniel. THANK YOU!!! :>

You can find more of the wonderful world of Justin Wallis in Amelia’s Anthology of Illustration. Take a peek at his video Puppy Love on Amelia’s Magazine in 2010 and don’t forget to stop by the MILKBBI shop!