Ape on the Moon: Contemporary Visual Arts » Galleries and Exhibitions

Pete Fecteau Creating a Mosaic Entirely out of Rubik’s Cubes

Philip Dennis — Sun, 01 Jan 2012 15:31:53 +0000

I could never get the hang of the Rubik’s Cube, still can’t. That has obviously never been the case for Pete Fecteau. Being more than comfortable with a Rubik’s Cube in his hand, Pete goes one step further in Rubik’s fluency, using them as his medium in his large-scale piece ‘Dream Big’. He took a little time to tell us about himself and this impressive project.

My name is Pete Fecteau and I’m an artist and designer. My fascination with Rubik’s Cubes started in 2008 when I decided to learn how to solve one. It was super addictive once I memorized the algorithms and, within a year, I was solving them in less than a minute.

It never occurred to me to use them for art until it came to me in a dream, literally. I came up with the idea to make one of the world’s largest Rubik’s Cube mosaics as my entry into the ArtPrize competition. I knew it was entirely possible and I used my skills as a designer to create a digital version of the mosaic and then a system for me to navigate and track each cube as I build the mosaic by hand.

The Rubik’s cube has a very limited color palette and I wanted to use 5 of the 6 colors to translate the work of Martin Luther King Jr. into a dynamic, analogous visual. I started by composing the image in black and white and then separated the grey scale into 9 solids.

Those 9 greys were then swapped with the 5 cube colors and the gradients between them. The process was and is a true test of color theory. Once I had the cubes, which was the hardest part of the whole process, the construction was simple. 4,242 Rubik’s Cubes, 5 colors, 1 subject.

I’m too cheap to buy or rent studio space. I’ve always borrowed space. Now that I’m in San Francisco, studio space is even more out of the question. I’m planning another mosaic for 2013 which will be twice as big and will probably rent out storage space in a self-storage facility.

I prefer bleak, featureless spaces because there’s so much to focus on. Any kind of distraction is a huge risk. I don’t listen to music or eat/drink while I’m working. I also prefer to work alone. I guess that makes me an art hermit, huh?

‘Free Space’ Project from Brighton Graduate Matt Lyver

Philip Dennis — Mon, 19 Sep 2011 10:02:41 +0000

This interesting and original project is from recent University of Brighton graduate, Matt Lyver. It’s an intriguing concept, engaging his surroundings and questioning the environments we live in.

It seems to have also been quite an undertaking but definitely presented well, having not only a collection of miniature installations around town but also a screen printed, embossed book documenting the project and a larger installation within the walls of the degree show. He tells us more.

I love ideas. The final outcomes of my projects tend to be driven as much by ideas and concepts as aesthetics. Much of my recent work has focused on reusing objects, materials and spaces in ways that give them new life or meaning, allowing them to serve new purposes. I also enjoy physical, tangible objects and being hands on and making things, which is why I think a lot of my work recently has taken a three dimensional form.

This project looks at how today space is at a premium, especially in towns and cities, and with available land steadily disappearing to development, free space is becoming increasingly hard to come by. With this project I aimed to seek out dead spaces, unused spaces, spaces with no visible purpose; spaces that may usually go unnoticed unless brought to your attention, and offer them up for rent as a tongue in cheek comment on ‘free space’.

I found a variety of these spaces in different shapes and sizes around Brighton, settling on 12 to use for my final selection. I then recorded all their measurements and constructed a Perspex fascia to sit in each space. The dimensions, details, prices etc. are all screen printed onto the Perspex and are specific to each individual space.

After installing and photographing all the ‘free spaces’, I collated them into a 26 page estate agents style catalogue with their dimensions, details and prices. The cover is screen printed, embossed and debossed, with screen printed end papers and yellow page details.

Photo of Brighton in the lego model village, from a club excursion to Legoland.

Popshot Magazine Print Shop

Philip Dennis — Thu, 15 Sep 2011 12:36:43 +0000

‘Popshot‘ is a magazine that is printed twice a year in the UK, and brings together beautiful poetry and wonderful illustration. Each issue gathers together a collection of poetry on a uniting theme, before pairing the poets with illustrators, who in turn interpret the work in their own way.

After having a successful run so far, they’ve decided to move from their pages onto our walls, and have opened up ‘Print Shop‘ as a means to display and sell work by some of the contributing artists. Jacob Denno tells us more.

My name is Jacob Denno and I’m the Editor of Popshot magazine— a bi-annual, Britain-based arts publication that champions contemporary poetry and illustration. Using our wealth of knowledge in the field of contemporary illustration we have recently launched ‘The Print Shop’— an opportunity to bring beautiful and affordable illustration prints to the walls of visual art/illustration lovers around the world.

After five issues of the magazine and having worked with over 100 illustrators, we decided to take six of the finest illustrations from the past two years and turn them into beautiful, collectable art prints. Each illustration is giclee printed, produced in limited edition runs of 150 and measures at a whopping 550mm x 675mm. You can find out more by visiting Print Shop.

Vend Send Mend Art Sale for Japan

Philip Dennis — Tue, 13 Sep 2011 11:15:39 +0000

After the March earthquake and resulting tsunami in Japan this year, there has been an encouraging amount of support from the artistic communities all around the globe. Recognising that the need for aid is ongoing, artists Craig Bowers and Jee-Shaun Wang took on the task of organising a large exhibition, Vend Send Mend, to raise money for ‘Doctors Without Boarders’ working in Japan.

Now, the resulting collection of artwork is on sale, so make sure to check out their site and show your support, while also picking up great pieces of art! Here are some examples from the project and a little more information from Craig and Jee-Shaun.

On March 11, 2011, Japan’s northeastern shore experienced a massive earthquake, followed by a tsunami and nuclear meltdown at Fukushima power plant. In the wake of 2011 Tohoku earthquake, ‘Vend Send Mend’ was created as a means to aid the disaster relief of the battered coast.

© Harry Campbell, 2011.

We decided we wanted to create an illustration-based fundraiser with a Japan-related theme. In this way, we tried for two birds with one stone by introducing illustration into the Baltimore gallery scene as well as creating the opportunity to raise funds.

After juggling a couple of different ideas, the theme manifested itself in the form of ‘vending machines’ because of the fact that Japan has truly pushed the innovative design of those machines by selling everything from soft drinks to live lobsters to underpants. Also, it seemed like a fun idea that many people could relate to. The name ‘Vend Send Mend’ presented itself as both unused and catchy so it was adopted quickly as we moved on to develop the show.

The first step we took involved contacting a great deal of illustrators to contribute/donate original works of art for the fundraiser. Fortunately, we received a wealth of responses ranging from professionals to recent graduates and students from multiple continents.

As Summer 2011 began to settle, we booked the opening night show for July 1st, at ‘Sub-Basement Artist Studios’ here in Baltimore, Maryland. The show went very well and now the artwork from the show is for sale online at www.vendsendmend.com!

It’s been great realising how much talent is out there that we previously hadn’t known and we also acknowledge the extra mile that all the contributing illustrators and artists made by creating and delivering original works of art specifically for Vend Send Mend. We cannot express our gratitude enough for the generosity of all the VSM contributors.

Despite the disaster in Japan being out of the headlines the repercussions are long lasting and people are still in dire need of assistance. We’re aiming to raise $6,000 for ‘Doctors Without Borders’, an active and productive organization that dispatches medical help worldwide.

Drawings and Inks of Kingston Graduate Nina Cosford

Philip Dennis — Sat, 10 Sep 2011 18:00:32 +0000

Here are some examples from recent Kingston University graduate, Nina Cosford‘s project, ‘Museums for Kids’. The bright and engaging design is perfect to grasp, inspire and encourage kids in their experiences at museums.

I think it’s also a lovely combination of nicely structured layouts and her much looser drawing style. Nina took a little time to tell us a little more about herself and the project in depth.

I’m a freelance illustrator, having just graduated from Kingston, London. I’d describe my main work ethos as seeing colour, humour and narrative in almost anything. I particularly enjoy playing with themes like anthropomorphism in order to communicate ideas/information in a whimsical, lively and accessible way, appealing to a wide range of people.

My work process is centralised around the mighty mechanical pencil (I go nowhere without it) which I use to scribble with, often over bright blobs of colour (applied with watercolours, promarkers and oil or wax pastels). I use Photoshop mainly to compose, construct, experiment and overlay elements to make many of my finished pieces. I love my Wacom graphics tablet and use it to add loose handwritten type. I enjoy screenprinting too when I have the chance.

A recent self-initiated project of mine was titled ‘Museums For Kids’. The aim was to explore and expand the appeal and involvement that children can experience in museums. This is an area of great interest to me, as history— and indeed education— are vital ways for children and adults alike to relate to the world.

The interactive nature of my museum guides are designed to place the individual within the context of history in a way that transcends how they access information as they become a part of it themselves. For each museum, I selected key elements of the display/content and structured a route via which the child can take in the information and play around with it at the same time.

This is an example of how I like to use motifs, themes and characters in my work to communicate more complex things in a light, fun way. It’s one of the most challenging yet illuminating tasks I’ve done.

Absolut Blank Creative Advertising Campaign Artwork

Philip Dennis — Mon, 05 Sep 2011 09:58:12 +0000

If you’ve been paying attention to some of the huge billboards around London at the moment, you may already caught a glimpse of the new Absolut Vodka campaign, Absolut Blank. It’s an interesting project that has brought together a wide array of artists from varying disciplines.

Each artist has put their own twist on the Absolut canvas they were given, resulting in a collection of unique and interesting designs. Here are a few examples and a little information from the Absolute Blank press release.

ABSOLUT has always challenged conventions through creative collaborations with artists such as Andy Warhol, Keith Haring, Damien Hirst, and more recently Ellen von Unwerth and Spike Jonze. ABSOLUT BLANK is a daring new chapter for ABSOLUT.

“In ABSOLUT BLANK, ABSOLUT has boldly made its iconic bottle into a blank canvas to inspire artists throughout the world to collaborate and fill it with creativity. We brought together creative collaborators from a variety of disciplines and watched the journey from pure white canvas to exceptional pieces of art. The result depicts how artists and creativity are inspired through ABSOLUT,” says Mark Hamilton, Global Marketing Director at The Absolut Company.

Urban Drawings of Brighton Graduate Sam Ashton

Philip Dennis — Sun, 04 Sep 2011 11:16:31 +0000

I really like the fullness and energetic movement coming out of recent University of Brighton graduate, Sam Ashton‘s work. Below are a few examples, including some recent drawings inspired by the London location and made with a range of materials to get the variety of marks and textures you can see. Sam tells us more.

I have quite a freeform approach to drawing as I rarely have an idea of what a drawing will look like before it’s finished. I enjoy the idea of people noticing something new about a drawing every time they look at it, so I include lots of detail and a wide range of colours and tones. When it comes to materials and mark making, I’m pretty open-minded. I like using graphite and running-out felt-tip pens to make textures of gloom and decay, but I wouldn’t say my work is dark at all.

I’m a lifelong resident of Hackney, East London. The area holds a lot of personal relevance, which has motivated my current East London Drawings project. The drawings also mark a very pivotal stage for Hackney, documenting the urban developments in preparation for the 2012 Olympic Games, an event that will have a profound effect on the social and physical fabric of London’s East End in years to come.

Kingston Graduate Tom Clohosy Cole

Philip Dennis — Thu, 01 Sep 2011 15:32:14 +0000

Here’s an ambitious final project from recent Kingston University graduate, Tom Clohosy Cole. It was presented as a large, satirical life insurance agency installation, together with screen printed posters and a screen printed concertina book. The project was about our need for safety from unseen, lurking danger, and what we are led to believe we must do to attain it. Here’s a look and a little more from him about his process.

A pic of one of Tom’s favourite places is at the end of the post.

I am an illustrator currently based in London, recently graduated from Kingston University Illustration & Animation. I have found that there are 3 areas of illustration that drive my want to make new work and challenge new projects; they are idea generation/problem solving, production of the work and the print process.

My working processes are heavily lead by these three stages. Once arriving at a solution that communicates, I compose my image, designing and drawing out my imagery in layers using a range of mixed media before it is compiled digitally. I try to ensure that my final outcome is always taken to print, for me there is nothing more rewarding than seeing an edition of hard worked prints finished and drying.

Tobias Hall Designs David Bowie Interior

Philip Dennis — Sun, 07 Aug 2011 17:48:57 +0000

Tobias Hall has already had experience applying his illustrations to the interiors of Zizzi restaurants, but 6 days to complete 3 murals, painted tables, and window designs must have still been a stretch. Tobias gave up some time to have a chat with Ape on the Moon, elaborating on the brief, the design process, and bringing the project into completion. If you’re interested in mural techniques, make sure to check out his time-lapse video for some useful tips!

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How did you get involved in a project like this?

This was my second project with Zizzi, they saw my work at NewDesigners, a huge graduate design exhibition in Angel, London. I have since completed a 3rd and have recently started my 4th project, so it’s proving to be a really rewarding client to work with!

Can you tell us more about the project brief?

As you might have guessed, the brief was to create an ode to musical legend David Bowie. The restaurant is in Beckenham, south London, where Bowie was born and grew up. In fact, he used to run an Arts Lab every Sunday from the pub in which the restaurant is now housed, where he would invite fellow musicians to jam with him. He also organised a free festival at Beckenham recreation ground, which he later wrote the song ‘Memory of a Free Festival’ about.

What techniques were used to apply your designs accurately to the walls and surfaces?

I started designing the imagery as I would for an editorial brief; fully completing the illustrations so both the client and I knew exactly what would be going on the walls.

Often, I would then print these onto acetate and use an OHP ( overhead projector) to beam them onto the walls or tables, giving me an accurate template to work with. This meant that, not only did I get a nice painting, I was also able to work quick enough to complete everything before the restaurant re-opened.

What were the major challenges in the project?

Time was probably the main issue; the work was part of a major re-furbishment, which meant I was essentially working on a building site and had to have the work completed within 6 days – the 3 and a half hour daily commute didn’t help either! I also had to liaise with the foreman to ensure I wasn’t stepping on anyone’s toes or painting whilst walls nearby were being sanded for example.

On the work side everything went fairly smoothly; there were a few mini-disasters when masking tape took the underlying paint or pen marks up with it when I took it off, but other than that it all went well thankfully!

Do you have any similar projects coming up?

I’ve actually just started work on Zizzi South Woodford! The restaurant is remaining open for this one, so I will be painting through a busy Saturday evening service whilst people eat, which should be fun.

It also happens to be my local restaurant, so i’m sure i’ll see a few familiar faces! You can see all four of my projects for Zizzi Earls Court, Kenilworth, Beckenham and South Woodford on my website.

Peter James Field Exhibition and Book Launch

Philip Dennis — Mon, 01 Aug 2011 17:14:51 +0000

Last autumn, Peter James Field very kindly put together a tutorial for Ape on the Moon, taking us step by step through his process when creating one of his finely detailed pencil illustrations.

Now, after diligently working on what he describes as the largest and most challenging illustration he’s ever attempted, he’ll be exhibiting the three metre-long piece and launching the accompanying limited edition book. Both the large print and book will be on display in a shared exhibition with Craig Oldham at the KK Outlet in Hoxton, London, running 5th-27th of August, with the private view this Thursday at 7pm.

The ‘Peter Andre Saliva Tree’ is an ambitious project, painstakingly illustrating celebrity connections via their relationships and dalliances, compiled out of hundreds of beautifully drawn pencil portraits. Here, Peter goes into more detail about what he does and the arduous work that went into the tree.

I draw in an analogue fashion, usually using a 2B retractable pencil, with occasional help from a 4H. I also work in coloured pencils and sometimes acrylic paint. I sometimes scan these in to produce much larger compositions in Photoshop.

The print connects Peter Andre, via marriages, divorces, affairs and offspring, to a staggering four hundred famous people, including a former US president, the King of Pop, and a host of stars from the golden era of Hollywood.

The first version of this print was made for a display at Nolia’s Gallery back in 2007 – and was headed up by Loose Women’s Carol McGiffin, linked to 100 other famous people in an interlocking tree of marriages and affairs.

That print was featured on Loose Women (click here to view) – you can read a longer account of its genesis here.

It had always been my intention to make a larger, wall-sized tree of connections and I’d been gathering notes in an exercise book over the course of the intervening four years.

Earlier this year I was offered the chance to participate in ‘Telling Tales’. a group show at the arts centre in East Grinstead – which gave me the opportunity (and more importantly the sheer expanse of wall space) to contemplate a new, no-holds barred saliva tree.

First things first, then, why Peter Andre? For a start, I figured the tree would have real impact only if I could succeed in connecting a UK celeb to the golden greats like Bogart and Sinatra. I chose Andre because he fitted this bill, and was also a local resident (he’s got a place near East Grinstead, I believe). As with Carol McGiffin, the choice of celeb isn’t ironic, I thought I might as well head the piece up with someone who does genuinely seem like a nice bloke.

After the East Grinstead exhibition, I was honoured to be approached by KK Outlet in Hoxton, who offered me the chance to display the tree in a shared exhibition with artist Craig Oldham (whose excellent Hand-written Letters project goes on show the same night). I took this opportunity to update the tree once more, adding another hundred faces to the previous work.

The KK show is also accompanied by a limited edition, hand-finished concertina book – which contains an abridged, 250 person strong fold-out tree. The souvenir book presented its own unique challenges. Originally I’d intended to make a poster set, but it was difficult to resolve. The obvious solution was to make a long, fold out, shrunk down version of the tree. This didn’t turn out to be easy by any means. Printing it on a single sheet of paper (well over a metre long) would have been prohibitively expensive.

At this stage I approached The Entente, aka Brighton designers Anthony Sheret and Edd Harrington, who’d printed my ‘Numbers’ book in 2009 in-house on their risograph machine. They suggested once again that we print the pages at their studio, and get them folded and stuck by professional book-finishers.

A few price quotes later, we realized this was also a prohibitively expensive undertaking. The only solution was to take on the job of assembling the books ourselves.

The original 2007 Saliva Tree.

Anthony and Edd devised a system of three tabs per book, each of which needed to be scored, folded and have double-sided tape applied. Only then could the books be assembled (with infinite care, mind you, to ensure the saliva lines matched up across the folds). It was quite a daunting task, not least because double-sided tape obviously can’t be re-positioned when stuck. Still, this was home-grown publishing at its most exciting – the whole edition being admittedly rather an experiment. How many would we mess up? How long would it take us to join over a thousand glue points? It was thrilling but I also lost quite a bit of sleep over it.

I can’t praise Anthony and Edd highly enough for their determination and attention to detail through the whole process – I also have to off my cap to some friends of mine who volunteered their evenings, and put many hours into the production of the final book; Keeley Smith, Steph Burnley and Hannah Forward. It eventually took five people working flat out about ten hours to complete the edition (or so I thought).

The final hiccup took place the following week when we realized the books, with their unusual glue system, could not be trimmed in a large industrial trimmer. Again, my eternal thanks are due to Anthony and Edd for their diligent patience in doing a small test on 10 books – otherwise the whole edition might have been ruined even at this late stage. It did mean, though, that I was forced to trim each copy of the book top and bottom with a stanley knife – and at last, another seven or eight hours later, the edition was complete. My hands are blistered and my shoulders ache, but we got there in the end.

The book will be officially launched this week at the KK Outlet private view – but it’s already up and ready to order on my website shop.© Peter James Field, 2011.