JO COX FOUNDATION FUNDRAISER
In the spirit of looking forward with a sense of hope in an achievable progressive future, political and otherwise, flyingleaps’ twelfth artists’ poster print in twelve months is a work by Raquel Macartney.
More That Unites Us (2017), displayed on billboards across the capital, remembers Jo Cox and victims of terrorism worldwide.
All proceeds from the sale of Macartney’s signed, limited edition of 100 will go to The Jo Cox Foundation.
Raquel Macartney’s poster is a new iteration of an award winning design: a handwritten transcript of Jo Cox’s maiden speech rendered so as to create a map of the world. For flyingleaps the artist again used her handwritten version of the speech but this time it recreates the contours of countries to conjure up a globe surrounded by a golden halo. Beneath, in Copperplate, is a phrase both emphatic and hopeful: ‘More That Unites Us’. With this work Macartney wanted to communicate Jo Cox’s enthusiasm for social justice and the wit, vitality and commitment she bought to trying make the world a better place for the many and not just the few.
AVAILABLE JUNE 16TH
JEREMY DELLER EXPOSES CRACK IN TORY VENEER WITH ‘STRONG AND STABLE MY ARSE’
He likes to take his art somewhere awkward, not awkward for awkward’s sake, but somewhere that’s tough and unsentimental, an imaginary of various troubling situations that can often be so easily papered over by subsequent events.
That Jeremy Deller’s ‘toolkit’ of media and approaches to work can make people cry, laugh and be genuinely afraid is pertinent because there are so many reasons to be affected by what’s going on at local, national and international levels today.
Our consciences should, must be pricked at times. We deserve much more than the oftentimes patronisingly simple, binary choices on offer. We deserve better than politicians stabbing each other in the back, lying to us. Deller’s work refutes the carping sophistry of silver tongued corrupt individuals and power blocs who sacrifice ethical social concern for the sake of their careers and vested interests of which they are often the direct beneficiaries.
A current work by Deller is a plain and simple street intervention for flyingleaps. Appearing on hoardings and elsewhere around the country: a black and white poster bearing the words ‘Strong and stable my arse.’
Psychic Love Wave (2017)
Strong and Stable My Arse (2017)
With Profit (2017) kennardphillipps have produced a contemporary Scream. Continuing a series that uses the salmon hued pages of the Financial Times as a ground, Theresa May’s face is strafed with asset management figures.
Her eyes have been put out but this is no Santa Lucia, the virgin martyr from Syracuse whose death at the hands of the Romans resulted in her becoming patron saint of the blind. May’s charcoal lip-sticked mouth agape, the blind bling portrait of the PM garners no pity. And nor should it. You can almost hear that robotic hectoring tone we’ve been subjected to ever more so of late.
The self-serving lies, her volte face brand of politics, May epitomises a Tory tendency toward bullying the weak and sucking up to the rich and powerful. If Lucia means light, the root of the name Theresa is derived from a Greek word for harvest, or reaper. And what is it her government seem hell-bent on doing? Who is going to benefit from her belligerent, patronising, mean-spirited approach to statecraft? Not the NHS or student nurses, not the low-paid, not the disabled or other minorities… The only people who will profit from May’s approach to both domestic and international politics – an obscene mixture of cowardly evasion and mealy-mouthed arrogance – are those very few with enough money to cushion themselves against the worst effects of her myopic and insular Conservativism.
Robert Montgomery’s Psychic Love Wave (2017) affords us a salve of sorts. His poetic interventions have a healing effect whether they’re adorning a housing project wall, a billboard or written in fire against a vast dusk skyline. But much more than Romantic gesture, Montgomery’s works rile at a complacency that’s seen liberal values rolled back in recent years. His conceit that what we need is a mammoth dose of Modernism to counteract a dearth of kindness, of compassion, of love, is just as much provocation as plaintive cry.
At the beginning of a new millennium the artist is resurrecting an energy that has been a transformational force – in cultural, scientific, technological and political terms – for more than a hundred years. Given the current turn to a small-minded protectionist mindset Montgomery’s message would seem to be a timely, perhaps urgently needed contribution to the public realm. ‘We’re in danger of walking over a precipice, falling into an ecological, social, political abyss. I want to remind people that Modernism equates to a liberating, civilizing force.’
The flyingleaps project is a street display and web platform for artists’ poster prints. At ARTCARBOOTFAIR 2017 we’ll be bringing work by all the artists who’ve had the flyingleaps treatment since we launched 23rd June 2016: kennardphillipps, Mustafa Hulusi, Dolores de Sade, Peter J. Fish, Michael Peel, Marcus Harvey, Mark Titchner, Carrie Reichardt & Bob Osborne, Robert Montgomery, Raquel Macartney and Jeremy Deller… Plus a few specials fr. Derek Mawudoku, Inkflood’s Robert Clarke and the inimitable Dr. D
Apart from More That Unites Us (2017) which is currently limited
to a run of 100, each edition is limited to 300.
They measure 30″x 20″.
All are numbered and signed on the back by the artist.
Posters are mailed 1st class – to be signed for – every monday.