PURE EVIL, Charles Edwards, s’inscrit dans un mouvement artistique en plein essor, le Street Art, datant de la dernière décennie, à Londres et à New-York. Il fait fleurir des visuels sur les murs de Londres qui dépassent bientôt le simple graff identitaire pour intégrer une attitude, un aboutissement et un questionnement post wharolien et dadaïste. La particularité artistique de PURE EVIL est de combiner, non sans humour, une Amérique des années 50 sous le prisme et la griffe d’une signature toute britannique.
Pure Evil is one of the key british artist of this booming international scene : the Street Art. His work is flowering all over the walls of London and all around the word. It overcomes the simple graffiti to get into a main contemporary art gesture which gives an echo to Warhol and to Dada’s expressions. He’s able to combine, with a dark humour, the U.S. of the 50’s with a so British signature.
J.F.K's nightmare from THE LAST GOOD TIME exhibition ay XOYO now
Pure Evil @ XOYO
Pure Evil @ Pure Evil
Victorian reverse stencil on glass
stencil spray paint on glass in black ornate frame
2011
24" x 36" (glass size) 29" x 42" frame dimensions
pure evil
£400
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pan
krink and spray paint on canvas
a new piece for the ‘pure evil and his companions in the underworld’ solo exhibition coming soon…
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pure evil and his companions in the underworld
solo show coming soon
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Bunnyfingers with Gold Leaf
stencil spray paint and gold leaf on antique childrens book pages
2010
30" x 41"
pure evil
£460 framed (background pages will vary)
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pure evil in the pillory
Screenprint on Somerset velvet 250 gsm deckled edged paper
Rolled antique gold and sepia hand colouring
56 × 76cm £150 unframed or £210 framed in ornate black or gold frame
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monkeys in charge
stencil spray paint & synthetic polymer paint on glass framed
2009
108 x 79 cm framed
pure evil
£900
made for pure evil @ pure evil gallery show
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charles darwin monkey boy
CMYK screen print
2008
108 x 79 cm framed
pure evil
£150 ( £210 framed)
made for pure evil @ pure evil gallery show
sex and moderate violence
giclee print with UV layer
2008
110cm x 67cm
pure evil
£666
signed and fingerprint authenticated edition of 10 on 308gram Hannemuhle paper with a secret UV layer . UV wand and batteries supplied.
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in girum imus nocte et consumimur igni
(translated from the latin : we are walking around in circles and we are consumed by fire)
this is a latin palindrome that reads the same from left or right.
Gilt frames and stencil spray paint
270 × 40
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£999
fun at the zoo - daytime
stencil spray paint & synthetic polymer paint on glass framed
2009
150 x 52 cm
pure evil
£1200 SOLD
made for pure evil solo show @ pure evil gallery
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crisis, what crisis?
stencil spray paint & synthetic polymer paint on glass framed
2009
108 x 79 cm framed
pure evil
£900
made for pure evil @ pure evil gallery show
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we want your ships ( 2 sided )
stencil spray paint and synthetic polymer paint on glass
2009
108 x 79 cm framed
pure evil
£900
made for pure evil @ pure evil gallery show
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forest of the damned bunnies
stencil spray paint and synthetic polymer paint on glass
2009
108 x 79 cm framed
pure evil
£900
made for pure evil @ pure evil gallery show
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Li Tobler
Spray Paint & emulsion
100 × 130
£1800 SOLD
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(1948 – 19 May 1975) was a Swiss stage actress. She is best known as model to several of H. R. Giger’s works (including his famous Li paintings), as well as for being his life partner up until her suicide in 1975.
Not much is known of Li Tobler’s early life. She was born in Switzerland in 1948. In 1966, she met surrealist artist H. R. Giger while she was studying acting in K. Rellstab’s drama studio in Zürich. According to Giger, she had “an enormous vitality and a great appetite for life” and wished her life to be “short and intense”. Tobler was living in a very small and unclean apartment with her then boyfriend, actor Paul Weibel, a friend of Giger. Giger, having only graduated from the School of Arts and working as a designer, made the proposal to move in with them, which they promptly accepted. Tobler, Giger and Weibel, in terrible economic condition, shared the apartment in the following months, despite its numerous inconveniences. After Weibel left abroad for professional reasons, the friendship between Tobler and Giger gradually developed into a romance.
The relationship of the couple was reportedly tumultuous, and involved promiscuity from both partners, as well as frequent use of drugs. On one occasion, Tobler failed to appear at the house and Giger, on the brink of terror, started frantically looking for her in highways. Eventually, he received a phone call by Tobler, three days later, who informed him that she had to make a trip of extreme urgency (probably with another boyfriend of hers, as remarked by Giger years later). According to the painter, “as of that moment she did, more or less, what she wanted”.
Depression and suicide: 1971-1975
In 1971, Giger and Tobler visited director Fredi M. Murer in London. Murer filmed a TV documentary, entitled Passagen (1972), about Giger’s work. The documentary also featured interviews by both Giger and Tobler. In the 1972-1973 season, Tobler gained a part in the play My woman, my leader, and had to travel all around Switzerland. Physically and mentally exhausted after 130 performances of the play, weary after the hectic schedule that required extensive tour around the country and confused by her promiscuous erotic life, Tobler decided to take a leave of absence from the acting profession, as well as from her relationship with Giger. In 1974, she opted for leaving him and moving to San Francisco with her new American boyfriend. However, 30 days later, she returned to Zürich, claiming to be disappointed over the United States and resuming her relationship with the painter.
Following this incident, Tobler started becoming heavily depressed. In sharp contrast to Giger, who was undergoing one of his most energetic artistic periods, Tobler was gradually dissolving in depression and apathy. Giger’s energy only seemed to depress her more. She started contemplating suicide. One of her friends, Jörg Stummer, advised her to open her own gallery, as a means of becoming active again. Her gallery presented several modern artists, including works by Manon, Walter Pfeiffer and Jürgen Klauke. At her last exhibition, entitled Schuhwerke (German for Shoe Works), the guests were invited to appear wearing bizarre shoe creations. Giger filmed the guests while wearing a pair of “shoes” hollowed out of fresh loaves of bread. Despite Tobler’s initial enthusiasm with her new project, after a short period of creative stir, she fell into a lethargic state and ended her life with a bullet at the age of 27, on Whit Monday 1975.
Sylvette David
Emulsion
162 × 105
£2000 SOLD
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Pablo Picasso met Sylvette David a woman who worked in a pottery studio not far from his studio in Vallauris, in the spring 1953. The attraction, which a face like Sylvette’s had for Picasso’s sensuality, motivated him to paint. Sylvette’s portrait from May 2, 1954 is one of the last of a long series. It is believed that she is also the subject of the monumental Chicago Picasso. She was said to have been an inspiration for actress Brigitte Bardot and the Roger Vadim film And God Created Woman.
Sylvette David
Emulsion
162 × 105
£2000
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Picasso only saw the shy 17-year-old girl, whose head was bowed with her hair high in a ponytail, for a few fleeting moments. But that was enough for him to become entranced by her beauty.
He was so struck by the teenager who accompanied her boyfriend to the painter’s studio in Provence that after her visit, he drew her portrait from memory and later presented it to her from over a garden fence.
It was the young woman’s sultry Brigitte Bardot look that captivated the Spanish artist. The encounter led to a year-long friendship in which Lydia Corbett, then known as Sylvette David, became the painter’s model and posed for hours at his studio in the Cote d’Azur town of Vallauris.
The experience, in 1954, was a formative one for Ms Corbett, not least because, as well as becoming Picasso’s latest muse, she was inspired to begin painting herself. Now, more than half a century later, Ms Corbett, 72, who lives in Devon, is exhibiting a large body of her work at The Red House Gallery in Exeter, from 15 March until 25 May. The show, which includes watercolours, driftwood art and sculptures, is accompanied by talks by Ms Corbett.
At 17, Ms Corbett was living in the South of France with her English-born mother, who was also an artist, and her boyfriend, Toby Jellinek, who made avant-garde metal chairs. Picasso had set up a studio near by and in 1953, he asked Jellinek to deliver a couple of chairs to his studio. Ms Corbett went along to the painter’s studio with her boyfriend, but had little idea of the dramatic effect this meeting had on the painter.
For Picasso, the image of the willowy blonde girl with the Brigitte Bardot hair piled high was one that was to bewitch him for the next year.
Some time later, when she was sitting with her family in the garden of their home in Provence, she saw a portrait of herself emerge from over the garden wall. Picasso had completed the painting from memory and held it up for her to view, calling the work Stunningly Beautiful: The Girl with a Ponytail.
In the following three months, Picasso produced more than 40 pieces based on her likeness, and photographs of the painter with his latest model littered the pages of Parisian magazines.
The artist was famed for being a prodigious womaniser, known as the “bohemian Casanova”. The women in his life were said to be the driving force behind much of his artwork, but almost all were left heartbroken as they were replaced by the next mistress-muse.
But unlike many of his former muses, Ms Corbett’s relationship with the artist never went beyond a platonic bond – not for the lack of trying on Picasso’s part. Mr Corbett remembers that in the course of the sittings, the artist made some romantic overtures, albeit, unsuccessfully.
“He could see I was very shy and frightened and he could feel that. But he would give me a cuddle and one time he showed me a bedroom and jumped on a bed as a joke. Maybe if I hadn’t been shy, I would have jumped on it too. He was wonderful to be around and he chatted to me about his youth and his love of creativity,” she said .
Brigitte Bardot
Emulsion
162 × 105
£2000
Meret Oppenheim
Emulsion
100 × 171
£2000 SOLD
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(b Berlin, 6 Oct 1913; d Berne, 15 Nov 1985). Swiss painter and sculptor of German birth. She studied in Basle at the Kunstgewerbeschule from 1929 to 1930. After seeing an exhibition of Bauhaus work, including that of Paul Klee, at the Basle Kunsthalle, Oppenheim produced her first Surrealist work, a series of pen-and-ink drawings in a school notebook. Oppenheim’s earliest works reflect the influence of Klee and the artists of Neue Sachlichkeit. She moved to Paris in 1932 and studied briefly at the Académie de la Grande Chaumière before meeting the Surrealists through Alberto Giacometti and Hans Arp the following year. Oppenheim quickly became known as the perfect embodiment of the Surrealist woman, the femme-enfant, who through her youth, naivety and charm was believed to have more direct and spontaneous access to the realms of the dream and the unconscious. She was celebrated by the Surrealists as the ‘fairy woman whom all men desire’. Man Ray posed her nude with an etching press in a celebrated series of photographs that includes Erotique voilée (1933; see Minotaure, 5, 1934, p. 15). She first exhibited with the Surrealists in the Salon des Surindépendants in 1933, then participated in Surrealist meetings and exhibitions until 1937 and again, more sporadically, after World War II. Her participation ended shortly before André Breton’s death in 1966.
Having been raised in Switzerland and South Germany, Oppenheim traveled at the age of 18 to Paris and enrolled at the Academie de la Grande Chaumiere. After meeting Alberto Giacometti, Jean Arp, and Man Ray, she became absorbed in Surrealism and was invited by Giacometti and Arp to exhibit with the Surrealists in 1933. She continued to contribute to their exhibitions until 1960. Many of her pieces consisted of everyday objects arranged as such that they allude to female sexuality and feminine exploitation by the opposite sex. Oppenheim’s paintings focused on the same themes. Her originality and audacity established her as a leading figure in the surrealist movement.
Oppenheim’s best known piece is Object (Le Déjeuner en fourrure) (1936). The sculpture consists of a teacup, saucer and spoon that the artist covered with fur from a Chinese gazelle. It is displayed at the Museum of Modern Art in New York.
Meret Oppenheim made Surrealist objects which surprised and outraged audiences. At twenty two years old she made her most well known surrealist sculpture the fur lined cup, saucer, and spoon. Her fur cup became the object of sensation when it was exhibited in Paris in 1935 at the Charles Ratton Gallery. The next year Oppenheim exhibited Ma Gouvernante, My Nurse, made of a pair of shoes bound together on a platter in a position simulating that of a nude woman on her back with her legs spread and dressed with paper frills. The shoes caused as much excitement as the fur cup. But the fur cup would live on to be a symbol for the Surrealists and the most reproduced of any of Oppenheim’s artwork.
The caused so much fame for Oppenheim that it was hard to assimilate the success at such a young age. The publicity had the effect of depressing Oppenheim, intensifying her self doubt and artistic confusion. She spent the next twenty years trying to make paintings and artwork that would live up to this early success and suffered from anxiety and depression. It was not until many years later she understood how important materials were for her artmaking success. Instead of illustrating an idea in a painting, the symbolic mix of objects was her genius. It was not until 1954 that Oppenheim felt like she no longer had her hands tied and could finally make art again! She began to design objects again that spoke about potent dreams of the unconscious.
Francois Hardy
Emulsion
112 x 204
£2000 SOLD
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She grew up in the 9th arrondissement of Paris, the daughter of an unmarried mother. She received a guitar on her sixteenth birthday as a reward for passing her baccalaureat. After a year at the Sorbonne she answered a newspaper advertisement looking for young singers. Hardy signed her first contract with the record label Vogue in November 1961. In April 1962, shortly after finishing school, her first record “Oh Oh Chéri” appeared, written by Johnny Hallyday’s writing duo. Her own flip side of the record, “Tous les garçons et les filles” became a success, riding the wave of Yé-yé music in France. It sold over one million copies, and was awarded a gold disc. She first appeared on television in 1962 during an interlude in a programme reporting the results of a presidential referendum.
Hardy sings in French, English, Italian, Spanish, and German. In 1963 she came fifth for Monaco in the Eurovision Song Contest with “L’amour s’en va”. In 1963, she was awarded the Grand Prix Du Disque of the Charles Cros Academy.
In 1981, she married her long-time companion Jacques Dutronc, with whom she had had a son, Thomas Dutronc, in 1973.
In 1994, she collaborated with the British pop group Blur for their “La Comedie” version of “To The End”. In May 2000, she made a comeback with the album Clair Obscur. Her son played guitar and her husband sang the duet “Puisque Vous Partez En Voyage.” Iggy Pop and Étienne Daho also took part. She has also recorded a duet with Perry Blake who wrote two songs for her award winning Tant de belles choses album. Hardy lives near Paris and Dutronc lives in Monticello, Corsica, although they remain a couple.
Lorna Tucker
Synthetic polymer paint & emulsion
100 × 110
£1100
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Following a stunning series of shorts for Nike, Alexander McQueens McQ line, Vivienne Westwood/Josh Homme and ShowStudio, music videos for Rhys Ifans band The Peth and live work with Lupe Fiasco, The Cult and Unkle, 2010 see’s the multi-talented director Lorna Lavelle move onto Features. Her first to come out will be 3 years in the making The Man From Unkle Documentary,set for release later this year, followed by the re-mastered version of the Warhol Era satire Brand X ( for which Lorna is both re-mastering and directing an accompanying documentary) and Conquest, narrated by The Cult’s Ian Astbury, exposing the illegal US government drug testing of Native American woman.
Pamela Courson
Synthetic polymer paint, emulsion
& spray paint
70 × 130
£1200
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She met the Lizard King in ’65, just before the Doors hit it big, and she sustained a love-hate relationship with him till he died. They were an on-again/off-again couple, typified by the Caribbean vacation they were going to take together in ’69, but they got in a fight in Miami and he sent her back to L.A. alone.
She traveled with Jim to Paris in ’71, and she was with him till he died on July 3rd at the age of 27. In fact, some people suggest she killed him intentionally by giving him heroin “by mistake” when what he wanted was cocaine, her motive being to punish him for his desire to leave her for another woman. After he died, she became a reclusive heroin addict and more and more mentally unstable. She was telling friends that Jim was still alive right up to her own premature — but not surprising — death in her Hollywood apartment, April 25, 1974.
She traveled with the Doors for half the decade. In ‘67 Jim moved into her apartment in the L.A. hills, but he was carousing and drinking so much the band had to get “babysitters” to watch over him and make sure he showed up to gigs. She and Jim both had affairs outside their relationship, his were just giving in to the legions of groupies who threw themselves at him, hers were often used as a way to annoy and get back at Jim. To help her occupy her time, he’d send her on shopping trips in his limo. He supposedly married another girlfriend, Patricia Kennealy, at a Wiccan wedding in ‘70 in which they drank each other’s blood and performed rites of witchcraft.
In an interview for the book Rock Wives Patricia described Pamela very positively: اI really did like her. She was nice. She wasn’t an incredibly towering intellect, but she seemed very sweet and very pretty, very Californiaب.
Pamela met Jean De Breteuil, a French aristocrat, before her relationship with Jim Morrison; they had a short relationship, keeping seeing each other even when Pam was with Jim. Jean was top-rank drug dealer; he provided the smack that killed Jim.
Courson was born in Weed, California. She was described as a reclusive young girl from a family that didn’t mix with the neighbors very much. She did well in school until junior high, when records show that her family was contacted about truancy. Courson hated high school, and her grades declined when she was sixteen. She did not return to Orange High School for her senior year, instead attending Capistrano Valley High School. That spring, she left for Los Angeles, where she and a friend got an apartment. It has been rumored (and denied) that Neil Young wrote the song “Cinnamon Girl” about her. One biography states that she and Morrison met at a nightclub called The London Fog on the Sunset Strip in 1965, while Courson was an art student at Los Angeles City College. In his 1998 memoir, Light My Fire: My Life with the Doors, former keyboardist Ray Manzarek stated that Courson and a friend saw the band during their stint at the London Fog, a lesser-known nightclub, and that she was initially courted by Arthur Lee, of the Californian band Love, who brought The Doors to the attention of Elektra Records boss Jac Holzman.
Courson’s relationship with Morrison was tumultuous, with repeated sexual excursions by both partners. Courson briefly operated Themis, a fashion boutique that Morrison bought for her. Her death certificate lists her occupation as “women’s apparel.”
Gaye Advert 1
Krink & oil paint
100 × 100
£1000 SOLD
Based on the original image ©Copyright Phil Franks 2011 All Rights Reserved. http://www.ibiblio.org/mal/MO/philm/
American Landscape 1
hand coloured large format screenprint on canvas
2009
130cm x 180cm
pure evil
£5000
skatepark painting made for pure evil @ pure evil gallery show
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American Landscape 3
Hand coloured large format screenprint on canvas
2009
130 x 180cm
Pure Evil
£5000
Skate park painting made for Pure Evil @ Pure Evil Gallery Show
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American Landscape 2
hand coloured large format screenprint on canvas
2009
130 x 180cm
pure evil
£5000
skatepark painting made for pure evil @ pure evil gallery show
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Latex Bunny Woman (consume)
carbon fiber
2009
1m high approx.
pure evil and timothy sandys
POA
This is a carbon fiber sculpture collaboration i did with Timothy Sandys…
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