Later this Summer, The Coningsby Gallery will be delighted to welcome Début Art-represented artist Alan Berry Rhys to present ‘Carnada Viva’, an exhibition of original paintings and screenprints inspired by the culture and lifestyle surrounding the Paraná River in Argentina. The exhibition will run from the 29th August until 9th September 2017.
As Alan explains, “In Spanish, Carnada Viva means ‘live bait’. Ever since I was a boy I have been drawn to fishing, and to this day remain fascinated by the variety of the sport. Equally, I love the paraphernalia associated with it; the bait shops and their billboards. My friends and I most often fish along the huge river that runs all the way through the east of Argentina from the north to the south: The Paraná River. I’m completely amazed by this body of water. It flows through a dense subtropical forest and on its shores are colonial towns, sites of cultural heritage and the locale for some of the more significant moments of Argentine history. Within the water’s depths dwell the river’s inhabitants - mythical creatures. The meeting of these two aspects, the river and the towns, combines ancient nature with introduced European Christian ways of living. It is an area rich in the push and pull of cultivated and natural history and its subsequent development. Carnada Viva is a graphic essay in which I present all the elements that fascinate me about the culture found along the Paraná River.’
Alan’s work is distinguished by his sophisticated use of bold, bright colours and the gestures he makes towards vintage graphic advertising, both in his process and in his aesthetic. In addition to hand-rendered sign painting, he largely works with techniques derived from screen printing and risograph-making in homage to lo-fi printing, with its errors and limitation. It is this handcrafted input and finish to his work that gives his work its character, and well represents the aesthetics of craftsmanship lifestyles - such as those experienced by fishermen, axmen, butchers and carpenters – which he often makes the focus of his pieces.
As well as working as an establishing artist and printmaker, Alan is also Professor of Graphic Design at Buenos Aires University, where he has taught for 8 years. More of his work is available to see online here.
Wired Magazine's Money 2025 money issue, aptly titled "It's a Rich Man's World," as imagined by artist Lisa Sheehan. How did she bring this piece to life? In her own words: "To make the credit card as authentic as possible I redrew the American Express pattern in Illustrator with the WIRED headline included. The card was then created in Cinema 4D and I drew the etching of Trump in photoshop. This all came together and was animated to give the feel of an apple pay screen. This was a multi disciplined approach, 2D textures drawn and then rendered in 3D." You can check out the animated piece and more of Lisa's work here.
Welcome to Sara Gironi Carnevale who recently joined Début Art. Sara lives in Italy and has been illustrating since 2016. Sara works digitally but her process remains traditional in terms of brainstorming and composing. The illustrations are done in a sketchbook before refining them in Procreate and then finalising all artwork in Photoshop. Her work is vibrant, luminescent and dreamlike, with intricate details, strong concepts and compositions. Sara has the ability to present complex topics in a way that is visually easy to understand. Her illustrations can be seen in numerous magazines, newspapers, books and prints. She has also been experimenting with animation. See Sara's full portfolio here
Eoin Ryan was commission to create one of a series of new illustration to commemorate 25 years of TfL. The aim of the campaign is to remind Londoners why they love TfL and highlight the rich connections, improvements, and influence it has brought to their lives over the past 25 years. More of Eoin's work can be viewed here.
AAAS hosted a recent gallery show, “Invisible, novel, and complex: A decade of visualizing science”, which was a 10-year retrospective show of visuals from Science magazine, being shown in their home office in Washington, DC. One of the highlights of the exhibit included a pair of pieces about Neurodegeneration by Simon Prades, originally commissioned for the October 2, 2020 issue of Science. Photography: Chrystal Smith/Science. Simon's full portfolio can be reviewed here.