I am your nail technician, your straight A student,
your wildest dream, your exotic girlfriend, your
piano teacher, your lawyer, your doctor, your
nanny, your hairdresser, your Made in China,
your waitress, your receptionist, your
maths tutor, your babysitter,
your Instagram hero,
your voice of wisdom,
your liar, your thief,
your nurse, your writer,
your convenience store clerk,
your disease, your leader,
your toy, your master,
your victim of
I am mine
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I recently moved to Forest Hill, and amongst the shops, pubs and restaurants, I found a pop-up gallery displaying the work of local artist Maria Luisa Azzini. Normally found in Greenwich Market, Azzini is originally from Florence, Italy, though she has been based in London for nearly twenty years now.
In the present times, the visual arts is just one of the many industries that needs support, with arguably very few industries not heavily impacted by the COVID-19 pandemic. It’s possible to buy Azzini’s work from as little as £45 for a print (£55 framed), to a few hundred pounds for an original painting. Each print is unique as Azzini touches them up with small strokes of silver and gold.
by Ananya Wilson-Bhattacharya
This is the second instalment of the Interviews with NYC Artists series. Part 1 is available here.
Later on that cold December day, after my meeting with Sally, I battle my way through the New York snow to meet the artist Cindy Ruskin in her apartment in Manhattan’s Lower East Side. The apartment is filled with art supplies, paintings and other works, including a renovated garbage can laden with small models and storytelling sketches.
by Carmina Masoliver
Ever since I studied Frida Kahlo in class, I have been a fan. Self Portrait with Monkeys (1943) and The Broken Column (1944) always stood out in my mind from those years, the monkeys offering a protective symbolism, and the latter painting signifying a kind of strength through suffering. Like Kahlo, I enjoyed painting self-portraits, and I found it difficult to paint other faces with the same accuracy.
By Carmina Masoliver
Having grown up in Norfolk, Will Teather is an artist who has been firmly placed in Norwich, where he works as an Associate Lecturer at Norwich University of the Arts and occasionally takes up residencies, reaching as far as New York. His distinctive style combines traditional skills and imagery, with a psychedelic twist.
by Laura Potts
‘If anything, art is…about morals, about our belief in humanity.
Without that, there simply is no art’
Norwich’s own Space Studios hosted Bridges, a fascinating exhibition by artists Marcia X and Karis Upton, earlier this month. Entering through a small alley, I climb stairs up to the first few works, which I find in a dark setting, immersing me in the exhibition. Up another staircase, long enough for me to begin reflecting on what I’ve seen, is a much lighter space, with works hung from the sloped ceiling. Afterward, I’ll go on reflecting for some time – the themes and issues that Bridges explores are of such magnitude that every viewer is forced to sit up and listen.
by Candice Nembhard
There are many ways in which the art world can be viewed as an exclusive realm to which only a select few are invited – and to a certain extent, I’d be inclined to agree with some of that sentiment. Behind the careful curation of white walls lies a system of complex unspoken rules that perimeter a selective and hierarchical structure. Be it curator, PR or private collector, everyone has their respective role in the art chain and, in part, this allows practice, consumption and interest in fine art to flourish.
by Hannah Rose
Art Fair East (AFE) is an annual contemporary visual art event showcasing emerging and established artists from East Anglia and around the globe, hosted by artists, galleries and dealers in St Andrews Hall – Norwich. 2016’s event was a hive of curiosity and arty repartee, with artists and agents on hand to engage and interact with visitors.Continue Reading
by Jess Howard
Covering the body with tattoos has been a tradition among multiple socio-economic groups for centuries. From identification to decoration, the act of adorning the skin with ink is in no way novel or unique. Day to day it is incredibly common to see tattoos on people of all ages, from the first tattoo immediately after the 18th birthday, to the person in their mid forties with an exquisite and elaborate full sleeve. In short, ink is everywhere.
Yet the stigma attached to visual tattoos in the work place shows minimal chance of disappearing. When I started my first ‘proper’ job, I was told that tattoos were not allowed to be visible, and even today, ten pieces of ink later, I find myself wearing long sleeves to interviews and asking if my potential employer would like me to cover them up. Even I, a woman who has long loved body art in all of its forms, assume that the stigma is still attached.Continue Reading
by Jess Howard
Earlier on this month, Playboy magazine announced that their publication will no longer be featuring nudity as of March 2016. Citing the rise of easy access to internet pornography, the company has decided to pull their famous images from the publication in a bid to reconcile their disintegrating readership with their increasing online audience, which went nudity free at the end of last year.
Playboy made a name for itself during the 1950s, when sex and nudity where far less mainstream and far more taboo. Having previously worked for Esquire, after leaving due to a financial disagreement (when he was denied a raise of $5) founder Hugh Hefner set up the publication from his home in Chicago, Illinois. Unsure as to whether or not the publication would thrive, the first magazine was undated in case a second issue was not produced. Having purchased a nude image of film star Marilyn Monroe, taken before she had found success in the entertainment industry, Hefner placed it on the cover. As we now know, the magazine was to be a huge success.