Qualifies for Own Art finance, 10 instalments, 0% interest
The Light - Small is a Hand-pulled screen print on 300gms Somerset soft white paper, with 24ct gold leaf by Dan Hillier. From an edition of 150, this print has been signed and numbered by the artist.
With the main way I work, I will start with one element or an idea of what I want to move towards making. I'll often start with a face, animal or bit of scenery, then go through and seek out what I think will work well with that and let the picture build itself.
Qualifies for Own Art finance, 10 instalments, 0% interest
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Artwork Details
Screen print on 300gsm Somerset soft white paper with deckled edges
Size: Signed and numbered by the artist
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Dan is a contemporary artist based in Stoke Newington, London, whose work embodies the ‘Steampunk’ aesthetic, combining imagery of the Victorian era with elements of nature, translating them seamlessly for a contemporary audience. Dan collages found images with his own ink drawing and manipulates elements of wood and steel engravings from the 19th century.
Dan is a contemporary artist based in Stoke Newington, London, whose work embodies the ‘Steampunk’ aesthetic, combining imagery of the Victorian era with elements of nature, translating them seamlessly for a contemporary audience. Dan collages found images with his own ink drawing and manipulates elements of wood and steel engravings from the 19th century.
Dan Hillier’s classically based images feature fantastical hybrids of humans and animals that draw on ancient mythological beings. Inspired by dream imagery and Victorian freak-shows, the images are unsettling in their blurring of dream and reality. Dan adds in his own line works to collages made from wood and steel engravings, before turning them into screenprints and giclée prints. Hillier speaks of how the drink ayahuasca opened both his mind and heart up, and made him aware of what he wants to express in his art. In his own words, Hillier loves to “create work that reflects my love of the source material I work from, the natural world, various ancient mystery traditions, and the ever-unfolding and often mystical experience of being alive in a world that is apparently material, immaterial, and prone to all manner of interesting archetypal expressions and wonderments.” Hillier has collaborated on projects with organisations such as Shakespeare’s Globe Theatre in London, The Folio Society publishers and bands such as Architects and Royal Blood. Hillier has also created the opening titles to BBC1's major 6-part drama Requiem. Hillier has held a number of solo and group shows, including at the Saatchi Gallery in London, The Louvre in Paris, Glastonbury Festival and the Museum of Turin, Italy. Hillier was also invited to represent Great Britain at the Giant Creator Show in Beijing, China. Over his career Dan has developed a celebrity following, with his permission portfolio containing names such as renowned author Neil Gaiman.
We love how Dan embraces the freedom of exploration that comes with collage, and allows his search for source material to dictate the direction of his piece. In his own words, Dan loves to “create work that reflects my love of the source material I work from, the natural world, various ancient mystery traditions, and the ever-unfolding and often mystical experience of being alive in a world that is apparently material and immaterial”. Dan’s classically based subjects are unsettling, blurring the line between dream and reality.
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We are thrilled to have the work of Dan Hillier with us at artrepublic. Dan's unique artistic practice sees him engaging with the craft of the past by bringing Victorian imagery into the 21st century. He was thrust into the general public's attention last year when his stunning image Pachamama was used by local Brighton band Royal Blood on the cover of their chart topping debut album. We caught up with Dan in his Stoke Newington studio to discuss his creative process, the Peruvian psychedelic drink ayahuasca and the influence of Bjork amongst other things. Can you describe for us ...
