Print sizes A1, A2, A3 & A4 sizes. Printed with Archival inks and paper. Signed and dated.
New Glyndebourne Prints: Opera Bleu; Golden Night and Opera Set.
Print sizes 124 x 30.5 cm
New Prints: i360 Palace Pier Bandstand and West Pier Pebble Beach and Ocean Blue Collections
Print size 124 x 30.5 cm
‘i360 Pier Bandstand and West Pier Pebble Beach‘. In view: the British Airways I360 panoramic lift, The Brighton Palace Pier, the Bandstand and the remains of the West Pier. All of this along the Brighton Promenade with its distinctive green painted railing and Chinoiserie style Victorian street lights.‘I360 Palace Pier Bandstand and West Pier Ocean Blue’. In view: the British Airways I360 panoramic lift, The Brighton Palace Pier, the Bandstand and the remains of the West Pier. All of this along the Brighton Promenade with its distinctive green painted railing and Chinoiserie style Victorian street lights.
New print ‘K616 Telephone Box’.
Print sizes A1, A2, A3 & A4 sizes. Printed with Archival inks and paper. Signed and dated.
‘K6 16’. New print. Reviewing the idea of Mechanical Pop Art. In 2017 I experienced the show Andy Warhol. Mechanical Art. at the CaixaForum in Barcelona. It is interesting how art in art books or in tv does not have the same effect as confronting the actual real art pieces. It was a sense revelatory event. Three years after while revisiting an print of mine that depicts a K6 model telephone box I saw myself convulsively carrying out a research on Andy Warhol work and starting to put this piece together. I settled upon the coloured portraits he made of Marilyn Monroe. Once my new print was completed as an impulsive art act. I meditated over the void of the intellectual justification for this act. Why we possibly do things and what tell us about ourselves and how we interact with our collective memory. The K6 telephone box by Gilbert Scott is an icon of design. Marilyn Monroe is equally an icon in the collective culture. Warhol cleverly created an association of her image to a new way of presenting it very personal and different. My doubts is wether I have created a new piece that is relevan with our times, Andy Warhol is still a stong presence in our culture, in the arts and the advertising. Or if this piece is a revival of three cultures. Classical John Soane’s, Early 20th Gilbert Scott’s and Andy Warhol’s 1970’s. Layer upon layer of historic artistic references. Available in A1, A2, A3 & A4 sizes. Printed with Archival inks and paper. Signed and Dated.
Pebble beach. New Tonal Collection Series.
‘Pebble Beach’. A tonal series that has been conceived as a reflection on the variation of colours and tones found in the pebble beaches of East Sussex. The pebbles are flint, a hard grey rock, deposited in the chalk cliffs. Through natural erosion the flints are released from the cliffs and slowly make their way through natural process to form the pebble beaches.
Ocean Blue. New Tonal Collection Series.
‘Ocean Blue’. This tonal series called ‘Blue Ocean’ is a reflection of the aquamarine colours of the sea I encountered last summer walking on the Palace Pier with the ‘Big Blue’ underneath my feet, glistening through the cracks between the planks of the wooden deck; and lounging on a deck chair watching the English Channel framed on the horizon by the white lattice of Victorian wrought iron railings. From original Ink drawing, colour added digitally. Print dimensions (124 or 1150) x 30.5 cm. From £180
Antique Blue and Ochre. New Tonal Collection Series.
‘Antique Blue and Ochre’. My first panoramic views are rendered with these colours. They are inspired from a small antique drawing of a palace in India which is on show at the Museum of Fine Arts in San Francisco. It was a decision out of preference of aesthetics that lead to a form of modern print with a strong echo of the past. From original ink drawing, colour added digitally. Print dimensions (124 or 1150) x 30.5 cm. From £180
Eventide. New Tonal Collection Series.
‘Eventide’. This tonal series was inspired by a late evening sea swim with my friend Mike by the West Pier in Brighton one late summer day . The sea was still like a mirror and the hues of soft pink surrounded us like candy floss. The word eventide means evening in archaic English. From original ink drawing, colour added digitally. Print dimensions (124 or 115) x 30.5 cm. From £180
General Collection.
‘General Collection’. A collection of prints that cannot be classified as a series. Individual items each one with its own idiosyncratic style. From original ink drawing, colour added digitally. Print dimensions (124 or 115) x 30.5 cm. From £180
Exhibition – Sept 2019 Jan 2020 at West Pier Centre, Brighton and Hove.
Venue: The West Pier Centre
Opening times: September 2019 to January 2020, 11.00 am – 5.00 pm Friday, Saturday, Sunday and Monday.
Location: The West Pier Centre is the first three arches under Kings Road at the West Pier Memorial Square, on the East side of the I360 Tower. Address: Kings Road Brighton, BN1 2FL
West Pier Rampion Wind Farm Brighton. Eventide Serene.– The West Pier, a Victorian legacy of the industrial and social revolution which promoted well being and welcomed all segments of society in its heyday; and in the distance, the Rampion Wind Farm, our legacy for the sustainable future in the shape of the renewable energies revolution and winds of change. This tonal ‘Eventide’ Series takes inspiration from a late evening sea swim with my friend Mike by the West Pier one summer day in Brighton. The sea was still like a mirror and the hues of soft pink surrounded us like in the’train scene of the movie ‘Spirited Away’ by Sudio Ghibly. The word eventide means evening in archaic English. Black ink pen drawings colour added digitally. Print signed and dated. Size (305 x 115 mm or 12 x 45.3 in) Print dimensions 115 x 305 mm. From £180.
‘West Pier Rampion Flowers and Wind farm’- The Rampion Wind Farm take its name from the Round Headed Rampion flower [Playteuma Orbiculare] or as colloquially known ‘The Pride of Sussex’. It is actually a cluster of small flowers that looks like a sea anemone when open. A herbaceous plant from the family of the campanulaceae with large erect stems. You can find it in most of Europe but it thrives in the Downs grasslands chalky soils. In the language of flowers, the campanula means gratitude. Print sizes standard A3 (29.7 x 42cm) and A4 (21 x 29.7cm).
West Pier Night Sea.
Print size A1 (84.1 x 59.4cm), A2 (42 x 59.4 cm) and A3 (42 x 29.7 cm)
West Pier Night Sea. – The West Pier at night has an ethereal presence. Its pearl complexion tells us about belonging to worlds: the past world when it was once was a thriving construction full of joy with children and adults promenading on its timber deck, the sound of its performers and attractions, the sun gleaming in a blue sky; and the irremediable future, in a sky of seaweed radiating light navigating stormy sea. Quoting T.S. Eliot Four Quarters “Time present and time past. Are both perhaps present in time future. And time future contained in time past. … All time is unredeemable.” Print size 84.1×59.4cm. Made from an original ink drawing. Colour and shades added digitally. From £180Detail of print. – West Pier Remains Night Sea.
Pallant House Gallery North South.
Print size 115 x 30.5 cm
Pallant House Gallery North South. – Elevation drawing of North and South Pallant Streets in Chichester showcasing Pallant House Gallery; an early 20th century modern British and European art museum housed in a Queen Anne 18th century townhouse and a 21st century contemporary extension designed by Long & Kentish in association with Colin St John Wilson. The colours for this print are a response to ‘Still life-cerulean’ by Ben Nicholson, an abstract painting in the collection of the Pallant House Gallery painted in 1946 . The exercise of producing this print shows how an abstract piece converses with a figurative one and how this in return validates the abstraction. Approximate print size 115×30.5cm. Detail of print
Victorian Steel Irons Brighton West Pier Cormorants
Print size A1 (84.1 x 59.4cm) and A2 (42 x 59.4 cm)
Red Victorian Steel Irons Brighton West Pier Cormorants. If you are observant of wildlife you might have spotted cormorants drying their wings on the ruins of the West Pier in Brighton. These birds are rather elegant with their slender figure, long necks and anthracite iridescent feathers. Attributed to Christoper Isherwood is the following poem: “The Common Cormorant or Shag, lays eggs inside a paper bag. The reason you will see no doubt it is to keep the lightning out….” This poem not short of humour was composed at a dinner party. Guests set each other the challenge of writing a poem containing a given word. The cormorants are resting on what was previously a beautiful Victorian leisure pier. The West Pier sadly was destroyed by a series of fires and all that remains is its bent structure of rusted wrought iron. Print size 84.1×59.4cm. Made from an original ink drawing. Colour and shades added digitally. From £180Detail of print
Regency Brighton Pavilion Finial and Domes
Print sizes A1 (59.4 x 84.1 cm) and A2 (59.4 x 42 cm)
Regency Brighton Pavilion Finial and Domes. The colour scheme of this piece relates to the specific Regency colours found in the interiors of the Brighton Pavilion. Gold dragon scale friezes, carmine onion domes, Gothic Prussian blue jali screens, Turner’s patent yellow diamond crenellated parapet in octagonal pinnacle. Finial convex feathered rings topped by fluted rings. Other sources of inspiration are medieval and early renaissance paintings. Print size A1 59.4 x 84.1 cm. From £180
Hers and His VIVA!
Print size 124 x 30.5 cm
‘Hers and His VIVA! – Fitzherbert’s Steine House to George IV’s Brighton Pavilion’ is a panoramic elevational drawing of Old Steine that shows The Brighton Pavilion, The Kitchen buildings and adjacent buildings found at Palace Place, Castle Square and Old Steine. The current YMCA building was at its time Steine House, the former residence of Maria Fitzherbert, mistress and wife of the Prince Regent. And also worth mentioning Marlborough House a 1771 building designed by architect Robert Adam. Print dimensions 124 x 30.5 cm. From £180. For sale at Leo Frames.Detail of print
Hove and Brighton promenade Ocean Blue.
Print size 124 x 30.5 cm
Hove and Brighton Promenade Ocean Blue. – View of Hove and Brighton from the end of Western Lawns by the Hove Deep Sea Anglers Club. It includes many landmarks and buildings found along the historic seafront; among others: The King Alfred Centre, St Aubyns Mansions, The Bandstand, Sussex Heights, The Hilton Metropole, The West Pier, The Palace Pier, the Zip Line, Sussex Square, Roedean School, Blind Veterans, reaching as far Rottingdean and further on the highest hill of the Seven Sisters Belle Tout Lighthouse within the South Downs National Park.
This tonal series that I call ‘Blue Ocean’ is a reflection of the aquamarine colours of the sea I encountered walking on the Palace Pier one clear summer day with the ‘Big Blue’ underneath my feet glistening through the cracks between the planks of the wooden deck; later lounging on a deck chair watching the English Channel framed on the horizon by the white lattice of Victorian wrought iron railings.
From original Ink drawing, colour added digitally. Print dimensions (124 or 115) x 30.5 cm. From £180Detail of print
Kemptown Promenade Brighton Ocean Blue.
Print size 124 x 30.5 cm
Kemptown Promenade Brighton Ocean Blue. -View of Hove and Brighton from the raised cliff of Kemptown at Marine Parade with its typical bow fronted terraced houses; Chinese style street lamps; Victorian lift; the unmissable 1960’s Sussex Heights and our contemporary British airways I-360; the historic Brighton Palace Pier and in the distance the coastline that runs from Shoreham Scottish Power Thermal Station; the two wind turbines; Shoreham industrial Harbour and continuing all the way to Worthing Pier. From the the tonal series that I call ‘Blue Ocean’ is a reflection of the aquamarine colours of the sea I encountered walking on the Palace Pier one clear summer day with the ‘Big Blue’ underneath your feet glistening through the cracks between the planks of the wooden deck and later lounging on a deck chair watching the English Channel framed in the horizon by the white lattice of Victorian wrought iron railings. From original Ink drawing, colour added digitally. Print dimensions (124 or 115) x 30,5 cm. From £180Detail of print
The Moon and the Long Man of Wilmington
Print sizes A1 (59.4 x 84.1 cm) and A2 (59.4 x 42 cm)
The Moon and the Long Man of Wilmington’. -Its origin a meaning remains unclear. Different theories say that he could be a pilgrim from the nearby Wilmington Priory. Professor John North said that this figure could be from 35th century BC to mark the constellation of Orion and therefore a manifestation of a Neolithic astral region. other sources say it could be Romano-British. More recently Professor Martin Bell suggested that The Long Man was cut in the snowbound hills near Wilmington in the 16th or 17th century. As an interesting fact It was restored in 1873 by a group lead by the vicar of Glynde, Reverend William de St Croix by marking out the outline with yellow bricks whitewashed in lime mortar. I have often visited him in my walks along the South Downs, and my friend Joss showed me recently a wonderful woodcuts of the ‘Long Man’ from Ravilious, and also by Ravilious the watercolour in exhibit in The Towner in Eastbourne. It was a matter of time for the Long Man to be a subject for one of my prints. The Long Man is crossed by innumerable terraced paths formed by the grazing herd of sheep. These grass paths are cut deep in the North facing steep hills of The Downs and cast long shadows.
I like to think that on clear summer nights the also know as the ‘Green Man’ gazes at the Moon for companionship with a feeling of camaraderie with sentimentality. As Percy Bysshe Shelley expresses this emotions in her poem ‘To the Moon’ ‘Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth, — And ever changing, like a joyless eye That finds no object worth its constancy? Thou chosen sister of the Spirit, That gazes on thee till in thee it pities … ‘ Or more simplistically the Spanish poet Gloria Fuertes says ‘En las noches claras,resuelvo el problema de la soledad del ser.Invito a la luna y con mi sombra somos tres.’
Round Headed Rampion, Pride of Sussex, in flower over the Downs
Print size 124 x 30.5 cm
‘Round Headed Rampion, Pride of Sussex in flower over the Downs’ This print is a a re-take of a previous print with the addition of a screen of cerulean blue flowers. Picture yourself lying on the grass in this spot looking at the distant landscape through the immediate growth of Rampion flowers. ‘Playteuma Orbiculare’, ‘Round Headed Rampion Flower’ or as colloquially known ‘The Pride of Sussex’. It is actuallly a cluster of small flowers that open looks like a sea anemone. A herbaceous plant from the family of the campanulaceae with large erect stems. You can find it in most of Europe but it thrives in the Downs grasslands chalky soils. In the language of flowers, the campanula means gratitude. The production drawing of this flower screen started with charcoal drawings and then kitchen lithography. Kitchen lithography means stone(Lito) printing( graphy) in the kitchen. Since all the materials for its production can be found in an everyday kitchen. It is based on the same principle as traditional lithography that water and oil push each other. French Emilie Aizer developed this technique in 2009. It replaces the harmful chemicals turpentine and nitric acid. On a piece of kitchen foil a design is drawn with oil pens, chocolate or soap, once the designed is completed Cola drink is poured on it as a corrosive element to alter the water retaining properties of the foil; cooking vegetable oil is then used to wipe and clean the foil. The result is a plate that when made moist and then inked with a roller, the ink attaches to the design. Finally a wooden press is used to transfer the inked plate into paper. From £180. Detail of print
Rampion Flowers Kitchen Lithograph being produced with Scarlett Rebecca at her studio a at New England House in Brighton.
Eastbourne Gold Pier and Beach Huts!
Print size 124 x 30.5 cm
Eastbourne Gold Pier and Beach Huts. The construction of this pier started on 18 April 1866 and it was opened by Lord Edward Cavendish on 13 June 1870. As a interesting fact during the Second World War, machine guns were installed in the theatre and a Bofors anti-aircraft gun was sited midway along the length of the pier. Later on in In December 1942, an exploding mine caused considerable damage to the pier and nearby hotels. For Agatha Christie’s lovers, the pier appears in Poirot episode “Jewel Robbery at the Grand Metropolitan” . And sadly in 2014 it suffered a major fire. Also shown in the print is a row of weather boarded beach huts and The Martello Tower no.66. These are gun towers constructed to defend the coast from an invasion of Napoleonic forces. Built between 1805-1810 and based on the design for the Mortella Point in Corsica. Print dimensions 124 x 30,5 cm. From £180. For sale at Leo Frames.Detail of print
Brunswick, Palmeira and Adelaide, Promenade and Piers, Brighton and Hove Ocean Blue
Print size 124 x 30.5 cm
Palmeira Brunswick and Piers, Ocean Blue. -Beach huts in the heart of the city with the backdrop of Georgian Crescents and Squares facing the sea. From original Ink drawing, colour added digitally. Print dimensions 124 x 30,5 cm. From £180Detail of print
The Lark over the Sussex Weald at Devils Dyke or ‘A Hike on the Downs’
Print size 124 x 30.5 cm
The Lark over the Sussex Weald at Devils Dyke’ or ‘A Hike on the Downs’. From £180. On display at Leo Frames or while their web is updated you can order you copy directly from me.
Last summer, one clear day my friend Eros and I had a picnic in this exact location, it is hard to believe that it is only twenty minutes outside Brighton. It had been in my mind for some time to depict this mesmerising view. We sat on the grass with our sandwiches when i heard it first, a lark, instinctively i found myself looking up scrutinising the sky to subsequently find it, up there, held in the air singing its defiant rather loud tune.
Devils Dyke was formed during the Ice age; it is England’s deepest and widest dry valley nearly a mile long. Described by Constable as ‘the grandest view of the World. The view I portray looks down onto the Sussex Weald confined by the South and in the distance the North Downs.
Painters and poets have historically celebrated this view, it comes to my mind the poem ‘A Hike on the Downs’ by John Betjeman from the book printed in 1937 ‘ Continual Dew’ that goes like this:
“Yes, rub some soap upon your feet! We’ll hike round Winchester for weeks— Like ancient Britons—just we two— Or more perhaps like ancient Greeks.
“You take your pipe—that will impress
Your strength on anyone who passes;
I’ll take my Plautus (non purgatus)
And both my pairs of horn-rimmed glasses.
The joy of companionship and invitation to roam these country paths in your own eccentric fashion, be who you are among the greens.
Can you spot the two larks in this print? As it happens in nature you will have to put some effort to find them. Larks in Mythology and literature have several meanings, they stand for daybreak as in Shakespeare’s Sonnet 29 “Like to the lark at break of day arising / From sullen earth sings hymns at heaven’s gate; ..”
Detail of print…can you spot the lark flying?
Firle From Glynde
Print size 124 x 30.5 cm
Firle from Glynde. A celebration of the countryside, the beautiful Southdowns Natural Park, with its soothing and inviting presence. Print size 1240 x 305 mm from £180. Last summer I went for a walk from Lewes to Glynde. I visited 12th C. St Peters Church at Firle and stared for hours at the fantastic John Piper’s ‘Tree of Life’ stained window, with its vibrant colours that has influenced this work. Also springs to my mind the lovely poem by D. H. Davis ‘Leisure’ written back in 1912 but that is so relevant these days. quoted ‘What is this life if, full of care, We have no time to stand and stare. No time to stand beneath the boughs And stare as long as sheep or cows. No time to see, when woods we pass, Where squirrels hide their nuts in grass….’Detail of print
Brighton City Pier Morning Haze.
Print size 124 x 30.5 cm
Brighton City Pier Morning Haze. -View of Brighton Palace Pier from the Steine Gardens. From original ink drawing, colour added digitally. Print dimensions 124 x 30,5 cm. From £180Detail of print
Ochre Brighton Pavilion Finial and Domes
Print sizes A1 (59.4 x 84.1 cm) and A2 (59.4 x 42 cm)
Ochre Brighton Pavilion Finial and Domes. The colour scheme of this piece relates to the soft ochre render colour of this edifice with its dragon scales friezes, onion domes, jali screens, crenellated parapet in octagonal pinnacle and finial convex, feathered rings topped by fluted rings. Print size A1 59.4 x 84.1 cm. From £180
If you are interested to purchase one of these prints please contact or visit Leo Frames in the heart of Brighton’s North Laine. 70 North road, Brighton, BN1 1YD
You can see my latest work and updates by following me @ Instagram alejezart
