Young, in Love, and Angry. Section 28

Print description

Protesters at a 1988 demonstration in London against the Thatcher Governments “Section 28”, a law designed to prevent schools from teaching about LGBTQ+ life and libraries from carrying positive books.
Holding the banner is Neal Cavalier-Smith, who says…“It was a crime to kiss in public, the gay age of consent was 21 (vs. 16 for men and women) and we were in the heat of the hate and deaths of the AIDS crisis. Yet the government decided to make things even tougher for gay people. Me and my boyfriend decided to risk it all and stand up against the bigotry. We marched, we shouted and we kissed for a better future for us all.”
In 2003, Section 28 was finally repealed. In 2013, gay marriage was legalized and the process of pardoning gay men convicted of consensual offences began. It is still ongoing today. Neal is now legally married to his lover of 36 years.

Print details

To create this print, I start by crafting individual drawings in ink, which collectively form a collage comprising the final piece. I scan my drawings and digitally add colour. The original design solely exists in digital format, and I print it using archival inks and paper. I then release my design as a limited edition print, available in standard ‘A’ sizes, ranging from A0 (84.1 cm x 118.9 cm) to A4 (21 x 29.7 cm).

Depicting an everyday scene

This work echoes many different sources, from Vuillard’s colourful depictions of the domestic patterned interior, many of which I saw at Pallant House Gallery in 2022, to the Alekos Fassianos Foundation, which I visited in Athens during the summer of 2023. Also in a mental periphery I can think of Ben Nicholson still lifes with his everyday objects; or Gwen John interiors, specially one exquisite painting ‘La chambre sur la cour’ that depicts an balcony

The human figure in a scene

I have been running life drawing sessions in Brighton for many years, and the depiction of the human form fascinates me. Through this piece, I aim to express both my personal experiences and the environment where I live. So the inclusion of a figure is very important, referencing one of my living art heroes, artist Louis Fratino, with his modernist cubic contemporary classics. It also draws inspiration from a recent exhibition at Studio Voltaire in London, that featured a pairing of works by Beryl Cook and Tom of Finland, held in the summer of 2024

A introspective study on style:

In exploring the style of this print, I’ve drawn from both personal heritage and broader art movements. My starting point was the Spanish Costumbrismo, a style I remember studying in school, which naturally led me to examine related schools such as Urban Realism and Social Realism

Contemporary Costumbrismo Art

Costumbrismo, originating in 19th-century Hispanic art, focuses on the depiction of local customs, everyday life, and manners. It blends artistic realism with Romanticism’s interest in expressive, emotional portrayals. Unlike mainstream realism, Costumbrismo often romanticizes or satirizes folkloric elements without offering direct social critique. In this print, that romanticized portrayal of urban life is evident, offering a personal yet grounded view of life on Bond Street.

Urban Realism

Urban Realism is concerned with the honest representation of city life—the architecture, the people, the mundane. It neither idealizes nor overtly critiques; instead, it offers a clear-eyed view of the everyday. This print reflects that impulse, focusing on the unremarkable but deeply familiar rhythms of life on Bond Street. There’s an emphasis on authenticity—on the small moments that define a day in the city.

Social Realism

While Urban Realism focuses on observation, Social Realism adds a layer of narrative. It’s less interested in neutral documentation and more invested in providing subtle commentary on social dynamics. In this work, there’s an invitation to consider not just the scene—a conversation over coffee—but the context within which it unfolds. The urban environment is more than a backdrop; it becomes a reflection of broader social structures and interactions.