 SøEdited Team: SøCreative Director: Chris Saint Sims SøFashion Director: Savannah Barthorpe Sø•Interview: Savannah Barthorpe SoEdited spoke with actor and writer Bibi Lucille regarding the difficulties of being a woman, but also the empowering future we can rejoice in from personal trauma we all suffer. During an exciting period where Bibi has flourished in theater and TV, and more recently casting her creative net wider into writing, her future is one of commitment to growth. Not only in her career, but in her personal life. Why do women need to break away from perfect role models and find imperfect models? It is entirely up to the individual who they want their role models to be, but I do love this shift we’re seeing in the media - the way women have been represented for decades has been centred around a perfect, flawless form of a woman, whereas now we’re seeing a lot more praise for many different types of women. Growing up, I was completely obsessed with physical perfection - as I think a lot of young girls are. The media forces a narrative on us that beauty is our greatest asset and the tool that will open most doors. Beauty remains a strong currency, but there’s been a real shift in seeing women who don’t embody physical perfection coming into the spotlight. When I started watching films like Bridesmaids or series like Fleabag and I May Destroy You, it all finally started to click - I was allowed to be messy, imperfect, and flawed. That’s the very thing that made me interesting, that made a person fascinating to watch. Worshipping beauty becomes empty, whereas finding work that makes you laugh or cry or feel hope is so much more fulfilling. Finding an “imperfect” role model is what will set you free in your art or creative field. It allows you to stop fearing imperfection and gives you the confidence that flaws are what make a person endlessly fascinating and relatable.
Rejection is also a large, inevitable part of life. And rejection is truly a wonderful thing. Certainty is the enemy of a good, exciting life - if you were handed everything you ever asked for, what would be your purpose? Where’s the excitement in always being accepted, not having to work for anything? Working towards something and reaching for a goal is what makes life worth living - it gives us a purpose and always brings adventure. Without rejection, we would be miserable. It builds our resilience, so when we finally get that “yes,” we’re elated. Something I always think is, what if I’m ten “no’s” away from a “yes”?
How the song “To be damned?” is a call for redemption and freedom from guilt.
The song truly is a testament to redemption - the fear that we may have messed things up in our path or taken a wrong turn - and whether we can ever be redeemed for it. And it could be anything; a career choice, a relationship choice. Or maybe something you said to someone that plays over and over in your head - feeding into that unshakeable feeling of guilt. The verses convey all of this through questions like “Will I be damned?” and the image of possessing a “filthy mouth and a soul to match.” The chorus repeats the line “I’m done,” which conveys the sheer exhaustion we feel from constantly questioning ourselves. The yearning to stop our minds from overthinking and replaying every conversation we’ve ever had. It’s about knowing that redemption is right around the corner when you can fully move on from the guilt. Why reckoning with the darker parts of yourself aims to find meaning in the chaos. As I mentioned before, our flaws are what truly make us interesting. The darker parts of ourselves - the parts we can’t fully face - are what make us three-dimensional, fascinating people. These are always the qualities I love to watch on screen; a priest with a morally dubious past, a florist with a dark past… these character flaws are what we can truly look at to find meaning in the chaos. That search for redemption is what gives us purpose and pushes us on a better path; it’s what makes our journey so interesting. How imperfect role models inspire women to spot confidence-destroying perfectionism. “Imperfect” role models are so important to the media and for the women consuming it. The range of women and female characters now portrayed on TV and film provides representation and allows many more women to recognise parts of themselves in these people. It allows us to be okay with making mistakes and being completely human - it allows for better art. We no longer have to uphold some strange physical standard that prevents us from creating good, real work. What are your upcoming goals and aspirations? I have lots of goals and aspirations for the coming year. I’m pursuing lots of different creative avenues; mainly acting, writing, music, and design. In terms of acting and writing, the two have been going hand in hand. I want to keep pushing for new projects that I have a lot of faith in - and aiming to collaborate with more wonderful people. I’m aiming to have completed seven songs this year that all fall under one album (and hopefully start gigging when I can kick the nerves). Finally, I will be releasing a line of couture dresses this spring, the brand being called B.LUCILLE. Do you have a preferred style of acting or genre of music? I love all styles of acting - I’ve enjoyed performances from comedy to horror. A particular favourite right now is Hamish Linklater as Monsignor Paul Hill in Midnight Mass. I watched it months ago, and I’m still not over it. My music taste ranges all the time - I’ll listen to classical music whilst working and then rap whilst working out. There’s no in-between. The sort of music that I really appreciate and truly love is blues and jazz. The upbeat, swing stuff is what I’m really into - Otis Redding, the Dirty Rotten Vipers… also the entire soundtrack from Princess and the Frog. How would you describe the emotions you experience just before stepping on stage? What do you love most about acting and music? I honestly find the nerves torturous before stepping on stage. It’s so painful, and it’s the only moment I really doubt what I’m doing. I always think about how easy it would be to just be the audience member - to sit and relax. But the second I’m in the swing of things on stage, I remember all over again why I love it so much. Making an audience laugh, especially, is a feeling unlike anything. Theatre definitely feels like home, and I’m so grateful I’ve been able to be a part of the industry, even if only in brief bursts. I haven’t done a live gig since I was fourteen, so I’m definitely terrified to return to live music. But I know it’ll be worth it.
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 SøEdited Team: SøArticle: SARA DARLING SøCreative Director: Chris Saint Sims SøFashion Director: Savannah Barthorpe MAKE THE MOST OF CONTEMPORARY ART. Who knew you could get up close and personal to such an impressive selection of contemporary art just off Oxford Street? Stash your shopping bags and winter coats in the lockers and prepare to immerse yourself in some of the most inspiring creations at the MOCO in Marble Arch.
Following the success of the MOCO Museums in Amsterdam and Barcelona, the London opening opened last year with a fanfare, and I enjoyed a leisurely morning perusing the three floors- ducking past sculptures and enjoying taking the weight off my feet as I watched a screening and became part of a living performance.  The gallery is more than art, it is an experience with a clear distinction between “spectators” and “witnesses”: the former are characterised by passivity, whereas the latter are conceived as active, engaged story-makers. Created as candy box for art connoisseurs, you’re welcomed in by a vast Jeff Koons Easter egg, topped with an oversized bow, and the journey continues with hanging sculptures and wall art by Damien Hirst, Keith Haring and Jean-Michel Basquiat on the ground floor.
Following the spiral stairs to the airy first floor, I was in awe of the interactive work by Marina Abramović who has designed a chair for human use; the idea is to encourage and reevaluate our relationship with everyday objects by interacting and sitting on the chair and experiencing the “Healing Frequency” it provides much needed ‘time out’ where visitors can internally explore the intersection of the physical and spiritual. The light filled room also boasts works by the infamous Bansky, KAWS, Tracey Emin and JR. Robbie Williams (ex Take That) has also produced a wall of oversized artworks which give a glimpse inside his head!  Continuing to the basement, where creativity and culture become even more entwined, with the likes of Jake Chapman and Lorenzo Quinn powering innovation and inspiration - this is more than a gallery to inspire; it is a showcase of artists who have shaped modern art and dared to challenge the status quo. From Kusama's infinite cosmos to Hirst's iconic butterflies and Koons' monumental inflatables, these trailblazing artists expand our collective imagination and inspire a fresh understanding of the world around us.
Championed by its founders, Lionel and Kim Logchies, the MOCO Museum is an initiative with a mission to awaken the world to the inspirational power of art. With over 50 years of combined experience working in the art world, the couple have established an art empire showcasing work acquired and on loan that would otherwise remain unseen in private collections. Book your visit here MOCO Museum, 1 Marble Arch, London, UK  SøEdited Team: SøFashion Director: Savannah Barthorpe SøCreative Director: Chris Saint Sims Del Core and Flash Art co-hosted In Conversation, an event with boutique owner and designer Daniel Del Core, featuring artist Carlo Cossignani and moderated by Gea Politi. The discussion, followed by a cocktail reception, was held at the Del Core boutique on Bond Street. Nature and culture are integral to Del Core’s identity. Creative director Daniel Del Core constantly draws inspiration from the wonders of the natural world, blending it with his passion for art and architecture to create a distinctive vision.
This creative perspective was showcased at the London boutique during Frieze London, where a special installation by visual artist Carlo Cossignani was unveiled. Cossignani, a Milan-based sculptor and painter whose work has been displayed at the Milan Triennale and the National Gallery of Modern and Contemporary Art in Rome, creates delicate structures that mimic natural formations. His artistic approach aligns closely with Del Core’s design philosophy. For this collaboration, Cossignani crafted a beetle-like installation that harmonized with the brand’s signature Beetle bag.  On October 8th, the collaboration culminated in a live talk at the boutique, where Daniel Del Core and Carlo Cossignani explored the artistic influences behind Del Core's approach to fashion. The conversation, moderated by Gea Politi, editor and publisher of Flash Art, provided a fascinating look into how art and fashion intersect within the context of the iconic Frieze Art Fair. Photography - Ben Awin for Del Core @ben_awin
  SøEdited Team: SøCreative Director: Chris Saint Sims Entering the Peacock Theatre to Jimmy Hendrix Purple Haze really set the scene. The dimly lit theatre in central Londons West End felt very swinging 60s, with the stage dressed in Persian carpets, Tiffany lamps, crushed velvet and boa feathers, taking me back to my hedonistic days as a student in london during its second hippy happening, the rave days of the late 80s and early 90s. ‘A night with Janis Joplin’ was more of a late night lock in with a bunch of like minded liberals, some friends, and an open agenda of what ever happens, should happen, it was a wonderful atmosphere. The stage was set for the evenings entertainment, and a heart felt encounter with the great Janis Joplin. .  For my age group Generation X, Janis was a legend even at that time 30 years after her tragic untimely death. And when I have spoken to people of her time they will say: “Janis, wow man she was an icon, really she was it, we all admired and adored her”. The feeling I received from these people when asked about her was touching, as you could sense the sadness of her passing at only 27, and what a beacon of enlightenment with her radical personality. That sentiment has traveled decades, with the fondness becoming greater as the years pass, and new generations of individuals, odd balls, the non conformists have discovering her. Janis is an underground constant and cult hero over half a decade after her passing. Much like The Velvet Underground and David Bowie, Janis has and continues to influence musicians, artist and rebels alike beyond her times and in to the future. The beatneck queen of rock n roll, a title she would have been happy with, not conforming with corporate stereotypes that have become so generic in today’s music and celebrity industry. And man was she an individual still not rivalled in any form, with a talent that was electrifying, the first, and the last of her kind.  Accompanied by a blues band, and backing musical dialog from the Joplinaires, and other legends Aretha Franklin, Etta James, Bessie Smith and more represented onstage by incredible live talents. Janis was so influenced growing up by these female singers, and into her own musical existence from these artists, who became her foundation. Most of these greats were commercially and socialy abused, leaving a bitter sweet current in this touching production. Hearing and seeing this live performance of such great women in ‘A Night With Janis Joplin’ written and directed by Randy Johnson is a unique glimpse into the history of popular music traveled over 60 years, and still influencing musicians and music into the future. It’s impossible to imagin music without the Blues.  This emotional night with Janis is a ‘speak easy’ experience, emotional and sensitively flowing between the 1920s blues soundtracks, up to the last album Janis made ‘Pearl’ released just days after her death. Tragically she never experience the accolade the world gave her after overdosing on heroin, ironically at a time when she was suffering with loneliness and isolation. It’s a bitter ending. Janis has the ability to really connect emotional with the world and the turmoil of the times socially, political and culturally, and we experienced this through our blessing to experience her music and performance.  SøEdited Team: SøCreative Director / Arts Editor Review: Chris Saint Sims SøFashion Director: Savannah Barthorpe It Will End In Tears... Through the perspective of Pamela Phatsimo Sinstrum 2D set design built in plywood, evoking the theatre world and the Barbican its self, the unfolding ‘kitchen sink drama’ portrayed on sheet plywood in the style of a drama novel unfolds, with its visuals enticing trauma and danger. Arriving at the opening dressed in an old 60s rain mack, flat cap, my dads purple 70s kipper tie and a pair of dead mens shoes with mettal healed blakey's, I was more appropriately dressed than I would have imagined, as was my date Sara Darling, coincidently dressed similar style, we both looked oddly suspicious...
Pamela Phatsimo sets her narrative world building through a series of paintings arranged within site-specific installation. This new body of work unfolds in what is an ever evolving cast of the artists alter ego, along with the striking presence of the public mingling, sitting and participating within the sets themselves, creates an eerie atmosphere.
Ones eyes, ears and senses are drawn away from the exhibition to that fleeting shadow or glimpse of another figure on set, between the art work or loitering in the shadows and wings within this very 3D exhibition slash performance. This is a visceral and unexpected engagement, leaving me remembering how important it is to be both physically and emotionally engaged in art, rather than simply viewing it on my phone while shuffling a million other items through my brain at the same time.  Set in a mid-century colonial out post, we explore the dulcet existence of our protagonist Berttina and her new life as she navigates this rural setting. Collaborating with Remco Osorio Lobato on the set design, evoking domestic and public space, separation and voyeurism.
Via the narrative of film noir, questions of fem fatale and the misogynistic depiction of women in film are displayed. As we personally enter the space we become characters and witnesses in this unfolding drama, murder and criminal proceedings. As I walked through the set with my metal heeled shoes clipping off the ply wood floor and echoing around the vast Barbican gallery, it stirred up a sense of the authoritarian. A child slowly walked in the shadows draping his arm along the balustrade, with his eyes shielded by the rail its self. 2 men sat on a plywood bench viewed between sets with faint whispers of a conversation. All creating a sense of ever changing drama, narrative and intrigue. Exhibition details Barbican Centre 18th September - 24th January 2025  SøEdited Team: SøCreative Director: Chris Saint Sims Championing instead of representing: Artists deserve to be at the centre of the art world. Each of our artists’ work is informed by their backgrounds, and they each have their own powerful voice. Guts Gallery was founded to ensure that artists from underrepresented backgrounds could have their voices heard, so instead of ‘representing’ them, we champion them, vigorously supporting their development and causes. 
 SøCreative Director: Chris Saint Sims As part of Brighton Artist Open House winter 2023, artist and film maker Karl Allen announced the Brighton Open Studios fall show, HAUS of Kaka. Hosting in a grade 2 listed building in the heart of Brightons lanes, this eclectic art show featuring a divers range of artists, each bringing their unique visual and style to the gallery. This quirky location moments from Brighton Pier and its 'art' interior design are worth a visit, and with the open house art event its a narrow opportunity to see both the interior and the artists curated during the 3 week event (gallery open weekend only) Event details Location 7 Bartholomews, Brighton BN1 1HG Opening dates: November 25th - 26th December 1st - 2nd December 9th -10th
Karl Allen @karlallengallery Karl's work dives into the tangled emotions around sexuality, the heavy shadows of shame, and the liberating truth of queer life. Karls wide approach to the visual arts and his multi media fascination, spanning contemporary fine art painting, performance, installation and film making has brought together some exceptional skills and creativity. His new body of work released for 'Haus of Kaka' dives into a raw psychological dimension of the artists historical psyche.
HAUS of Lucy @houseoflucyart Haus of Lucy (Lucy Bryant) challenges contemporary culture with her multimedia art, blending classical and urban elements. Messing with the kitsch and the quirky, then turning the soft and mundane into questionable and sometimes menacing objects of art. A very British underlying narrative of kitchen sink drama, and commercial hypnotics presented tweely.
Saint Sims @christophersims.com Fashion photographer Sims strips down his commercial art background, and takes everything fashion and production out of these photographers, taking him back to one of his first visual experience. These nude portraits are a personal journey and expression of the intimate, the isolated, the transient and the anonymous. Like found photographers in a draw or at a second hand store, the curiosity of the location and the unidentified figures in them is all that needs to be considered. The rest of the narrative no longer exists. All that remains is the image with both figure and location erased with time.
Tristan Lathey @tristanlatheyceramics Tristan Lathey’s vibrant ceramics focus on the individuality of animals, his unique style of slab-built sculpture is both playful and angular. The quirky and child like expression Lathey presents in this body of work, builds on the surreal simple methods the unconscious can explore.
Cathy Page @cathypage Cathy Page, a portrait painter bringing to life the vibrant personalities of performers and colourful characters through here vivid and expressive artworks. The subversive nature of the human condition, and the tangled personal fetishes the individual desires are captured in the modernisation of the classic portraits. Holding closer link to the religious house of human need; sexuality and voyeurism, experimentation and role play.
Dave Pop @davepopart Dave Pop! infuses his pop art with Brighton's seaside spirit, creating bright and bold visuals with a take on the cheeky post card and mid-century illustration. Inspiration felt with the bold colours of the fun fair and titillating figures from Vegas or the SOHO sex clubs. Pops highley glossed logos that could sit seductively on the side of a truck or airplane, have this sexuality and allure of the bold, beautiful and available!
Bruno Sibona @sibounanubis
Bruno Sibona's tribal sculptures draw inspiration from global cultures, offering a surreal and primitive aesthetic. Shapes and angles, hidden meaning and depths of wisdom are items drawn from these sculptures. Mythology, spirituality and the hidden narrative in the depths of humanity's history are forever beyond our reach in today’s modernity and digitality. So its with glee we have Sibona’s tribal offering breathing life it to our unknown depths.  Serge Lutens SøEdited Team: SøCreative Director: Chris Saint Sims SøFashion Director: Savannah Barthorpe Many may argue that the architectural re and interior design of a shop are just as important as the merchandise itself. Well-thought-out designs have been captivating the public since day dot, working as one of the most impactful customer acquisition techniques a business can implement. With everything now online, it's common for many to shop without in-person experiences. But which stores are making people put down their phones and step back into brick-and-mortar to experience beauty and opulence like no other? Eager to find out, Alan Boswell Business Insurance analysed Instagram hashtags, reviews and mentions of beauty for shops around the world, to crown the most beautiful shops. SoEdited examined the for most desirable physical spaces, for everyone delight  Serge Lutens Copyright: (Kiev.Victor) / Shutterstock.com 1 - Serge Lutens (Paris, France) - 72.5/100 The only palace in the ranking, this store scores 72.5 out of 100. Opened by Serge Lutens in 1992 in the Palais Royal, this dark and striking store is full of violet and black, a colour Lutens holds dear to his heart. Situated in the middle of the store is a spiral staircase which leads to an equally fascinatingly adorned upstairs area. This hidden flagship store is often missed by travellers who are drawn into the Louvre a stone's throw away but still brandishes a 4.5-star review score.  Prada Marfa Copyright: (anitatakespictures) / Shutterstock.com 2 - Prada Marfa (Texas, USA) - 70.6/100 Although technically not an operating store, this artistic installation brings intrigue and of course Instagram tags with a score of 70.6 making it tied for third place. Set in the beautiful Chihuahua desert, this ‘store’ was a response to commercialism, built in 2005. Originally left to decay, this art installation has been maintained and become a beacon for fashion fanatics and art lovers, attracting 75,294 posts to date. This store has grown beyond initial intention, even featuring in an episode of The Simpsons, the dreamy desert location only adds to its charm. This faux store has earned itself a 4.6-star review score on Google, even if you can’t step inside.  Dior Copyright: (BERK OZDEMIR) / Shutterstock.com 3 - Dior Flagship Store (Seoul, South Korea) - 63.7/100 The Christan Dior Flagship Store opened in 2015, making it the youngest of the top five shops. This luxury fashion mecca even boasts a cafe on the top floor for its visitors. With 1,883 Instagram Hashtags and a review score of 4.4 out of 5, this elegant store scores 63.7. The building was built to reflect Christian Dior’s famous work, acting as a sculpture and store.  Louis Vuitton Copyright: (CrispyPork) / Shutterstock.com 4 - Louis Vuitton (Singapore) - 54.9/100 Located in the Marina Bay Sands, the island flagship store of Louis Vuitton lands in fourth place with a score of 54.9. With a review score of 4.4 out of 5 from a total of 1,340 reviews this radical architectural crystal is a sight to be seen, with tourists drawn in from around the globe.  ALEXIS MATEO
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 SAGE O HARA |  LACHERRY |
This time, it was the drag queens on the Vegas strip who made her hit her the Nevada roads again. She was on an assignment in in 2019 in New Mexico and afterwards detoured to Vegas. On the lookout for new communities for her book on Nevada, Hilton ended-up at drag queen bingo by accident. After experiencing the girls’ redefinition of the American dream one innuendo at a time, she was hooked.
Hilton persuaded them out of the bars and clubs and onto the plains where John Houston shot ‘The Misfits’, (the film that inspired this series) they did their own make-up and picked their own outfits.
While shooting them on a plate camera in black and white, Hilton also enjoyed the emotional snapshots of the girls, while they revealed in the liberation and joy that drag afforded them. Miss Alexis Mateo said, “When I am Alexis it’s just freedom to be whoever I am not. I get to be a little bit more crazy.
I have the personality I want to have at night, and don’t excuse it. As a boy I am more shy, more reserved, more traditional. As a girl it gives me power. I do things in my girl person that I would never do. Literally drag is freedom for me. I am forty years old on paper. Inside I’m thirty-two. As a girl I’m twenty-one, and a virgin! As a girl I’m a virgin I’m telling you.... waiting for the perfect man. As a boy, well that’s another thing..... “
Her visual odyssey encompasses a modern folkloric Americana comprising communities of cowboys, working girls, burlesque dancers, gun club members and circus folk.
janehilton.com / photolondon.org
instagram Jane Hilton
 ANGEL PHOENIX |  MIRAGE |
"I am aware that whenever a male or female body is used in an artwork, people will read in to it in many ways"
Arts Editor: Christopher George
Rowan Newton’s latest body of work came in part from the isolation we all faced during the COVID-19 pandemic. This isolation brought challenges and realisations for the renowned contemporary artist- both creatively and emotionally.
Newton’s show at the Jealous Gallery London was initially planned for 2020, but Covid caused Newton to reflect on how the world had to stop, yet his practice as an artist could continue almost unchanged. The time that we all gained in our life as the world halted, became a period for Newton to submerge himself in his fascination of colour and paint and challenge his understanding of the human form.
Newton’s works have taken a step out of his comfort zone of the portrait, and fully opened the canvas to the expression of the nude figure. Allowing the emotions in the body’s flesh, tone, curves and creases to be translated via paint to canvas.
His fascination and practise with colour and the texture of paint have created a pollination of a visual- crossing science-fiction with Renaissance paintings of the nude, which both celebrate uniqueness.
Newton has taken a huge step forward as an artist, encompassing contemporary, and classical art.
SO
How was your COVID experience both creatively and emotionally/
RN
Not that bad to be honest. Personally I enjoyed how everything slowed down, it felt like there was less pressure. My girlfriend was working from home, so it was really nice to spend a lot more time together. She was less stressed with not having to do a two hour commute everyday, and also having more time to herself was really good to see.
Creatively, well my show was originally meant to be in September 2020, so it actually got postponed twice. In a way it was a relief, as it gave me a lot more time to concentrate on doing the work, to sit with the paintings, and to then come back to them when I felt the time was right and work on them further.
Rowan Newton’s latest body of work came in part from the isolation we all faced during the COVID-19 pandemic. This isolation brought challenges and realisations for the renowned contemporary artist- both creatively and emotionally.
Newton’s show at the Jealous Gallery London was initially planned for 2020, but Covid caused Newton to reflect on how the world had to stop, yet his practice as an artist could continue almost unchanged. The time that we all gained in our life as the world halted, became a period for Newton to submerge himself in his fascination of colour and paint and challenge his understanding of the human form.
Newton’s works have taken a step out of his comfort zone of the portrait, and fully opened the canvas to the expression of the nude figure. Allowing the emotions in the body’s flesh, tone, curves and creases to be translated via paint to canvas.
His fascination and practise with colour and the texture of paint have created a pollination of a visual- crossing science-fiction with Renaissance paintings of the nude, which both celebrate uniqueness.
Newton has taken a huge step forward as an artist, encompassing contemporary, and classical art.
SO
How was your COVID experience both creatively and emotionally/
RN
Not that bad to be honest. Personally I enjoyed how everything slowed down, it felt like there was less pressure. My girlfriend was working from home, so it was really nice to spend a lot more time together. She was less stressed with not having to do a two hour commute everyday, and also having more time to herself was really good to see.
Creatively, well my show was originally meant to be in September 2020, so it actually got postponed twice. In a way it was a relief, as it gave me a lot more time to concentrate on doing the work, to sit with the paintings, and to then come back to them when I felt the time was right and work on them further.
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SO
You began this body of work before COVID. What were your intentions prior to the pandemic for the exhibition, and how did they alter to the final exhibition?
RN
Originally the idea was to showcase a lot less work and to focus on mostly bigger pieces. I also originally wanted to focus on painting more than one figure on each canvas. However when lockdown hit, I was no longer able to use models or organise photo shoots, so like everyone I had to adapt.
The word isolation was now being used frequently and as we became more insular, I felt that the artwork should be more personal and closer to home. All there was at hand for inspiration was my partner and our four walls. I also had no plan to do portraits for the original show, but when the option of seeing other people was taken away, I started to paint photos of my friends faces instead. Maybe this was a way of still keeping them close to me.
SO
This new body of works is more introspective, and obviously during the time of lockdown we were all pretty much living this way. How was this state of mind for you while painting?
RN
I don't feel that my state of mind is too different, however maybe I will need more time to look back on it in hindsight to see the impact on myself.
For me, and I imagine a lot of other artists, isolation is a common practice, as I spend a lot of time alone in my studio, and this is partly what the title of this show is about. As a painter, I choose to spend days on end in a room by myself making these paintings. I choose this as I like to be alone, and it helps my creative process in making me feel relaxed.
During lockdown when we were isolated in so many other aspects of life, I reflected on how although I often choose to work like this, human interaction is also an important part of getting inspiration and ideas.
SO
Much of your works are based around the cropped portrait, but for this exhibition you have opened the canvas to more figurative nudes.
How was it for you expanding and using more of the human form?
This was a new challenge, which is what I needed at this point in my career. Trying to convey emotion and nostalgia through the human form, whilst deepening my exploration of colour and the properties of paint, have been central to my process.
It's been interesting to experiment with pose and composition in order to communicate an emotional feeling through these new works. I also personally find the body is more fun to paint and draw, there are more angles, curves and creases than in a face.
SO
Can you let us know more on your practice of deepening and the exploration of colour and the properties of paint.
RN
For me the use of colour creates an instant emotional reaction. You notice that when people see flowers bloom in spring, or witness and incredible sunset. Colour fills people with awe and excitement. I want to play with placing one colour against another to grab the audiences’ attention, and to help the viewer feel an instant emotional response to the work.
Texture can do this as well, and I hope that the tactile nature of my paintings draw people in and make them more seductive. As humans we seek the touch of other people, and I hope that my use of texture encourages my viewers to engage with the painting physically and emotionally.
SO
The male nude has become a new part of your subject matter. How is it working between the male and the female nude. What observations do you have, and how is it working between your own sex and the alternative.
RN
I can't decide if it's been easier or harder to depict the male form compared to the female nudes. In a way, as a man, I know the male body as I have spent my life living inside one. Although hopefully I spend more time looking at my partner rather than myself, ha!
However, on the other hand we are constantly confronted with a version of the female figure so often in mass media and advertising, that it feels so familiar. What I did notice, it is a lot easier to find poses and angles that work with the female form, compared to the male form. In that aspect I struggled.
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SO
In this struggle to find the variation with the male poses, what are your thoughts on the female poses being so varied, and for a long time now almost a constant fashion for the female to play on the masculine. Yet for the male to be portrait with femininity, this still can be seen as derogatory.
RN
Obviously I am aware that whenever a male or female body is used in an artwork, people will read in to it in many ways, and I find it interesting discussing these reactions with people that view my work.
Using male figures is something that’s quite new for me, and I am interested in exploring different poses and expressions in the future. And with that I will need to explore these issue further.
The larger paintings for this show were less motivated by issues surrounding gender, and more about depicting people at home in their natural state. Not particularly posed but just being. I think due to lockdown, and spending more time around the house, these everyday scenarios and 'moments' captured my attention and I wanted to explore this.
SO
Nudes are a complicated subject, and avoiding the overly sexual and pornographic can be difficult. How do you approach this?
RN
That's always a main concern for me when approaching it, to steer clear of sexualising the subject. Yet I still look at some pieces from the show and see that they could be interpreted as 'sexy'. I try to go for very natural, nothing forced or difficult to hold as a pose. Just relaxed and at ease, and hopefully that gives it a more natural quality.
SO
During these times where visuals are so sexualised, we are seeing the nude represented by a growing number of artists with more classical appreciation. What are your thoughts on the nude and it's representation in modern art, and also in modern society with the explicits of social media, body modification and filters to beautify.
RN
Yeah, as someone who is expecting their first child, the internet and what is available to young people at such an early age can be very frightening.
The growing pressure people face when being constantly bombard by images of the so called "perfect body" is immense and often comes without the transparency of knowing how these images have been edited/ tweaked and distorted. Why are so many people using the filters, the editing apps, and surgery etc. How can we collectively veer away from this?
It makes me think; am I contributing to that? Do we want another man representing women? It's difficult. This is a regular discussion in our household what with my girlfriend having a keen interest in art.
Ultimately I enjoy representing people through my work, and during COVID I attended a range of virtual life drawing classes in which I chose due to the diverse range of bodies being represented. This I feel is important.
SO
Nudity can be an uncomfortable visual and conversation in western society. And the extremes seem to be literally ‘inflating’ the sexualisation of the human form, and bypassing the artistic. What are your thoughts on this?
RN
I would agree, but this has been going on for centuries. However it feels more shoved in our face due to the easy access the internet and what our smart phones offer.
Ultimately we should not stop questioning and being critical. We should be aware of our privilege and of what our artwork is communicating. We should listen to other people's opinions and not shy away from asking ourselves the difficult questions.
SO
What would you say has been the fundamental shift in yourself after this last year?
RN
It's funny, because again, referring to the title of the show, I have chosen to isolate myself from the general public for most of my life in some ways.
However, after a year of being told to isolate from others, it is only now that I fully realise how much I enjoy the company of others. It has been so good to reconnect with people. I want to stop imposing this self isolation on myself, and instead make a lot more effort to see people.
instagram Rowan Newton
sø•arty
Creative minds produce in all mediums. Displaying some of the finest art items edited to suit a refined self and lifestyle
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