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The Queer Beach
LGBTQ communities & the seaside
Exhibition & events at the Jubilee Library, Brighton
28/01 - 11/02
The Queer Beach project explores the strong connection between queer people and culture and the seaside – between a fringe, sometimes marginal community, and this frontier space.
It cruises to nearby places such as Brighton’s Naturist Beach and sails to faraway places such as Abric’o Naturist Beach near Rio de Janeiro. It looks at the realities of queer bodies and spaces and their imagined potentialities. The exhibition includes an array of media and art including photography, paintings, collages and installations by thirty artists from Brighton and further afield who were invited or answered SEAS’s open call.
For the exhibition, SEAS commissioned the historian Alf Le Flohic to write a short piece about the history of Brighton’s queer beach, a fictional text exploring an ideal Lesbian beach by the author Helen Trevorrow, and an illustration from Rowan Frewin of a non-binary merperson that can be seen above.
The exhibition also includes a photography project about the visitors to the naturist beach by Antony Edwards and a participatory project by the exhibition’s curator Gil Mualem-Doron that took place at Worthing Museum. The Brighton-based artist and all-year-around sea swimmer Ludo Foster will present his experiences of swimming as a trans and POC person and Francesca Alamio will exhibit two postcards from queer Paradise addressed to her late parents. Amitrano Maria Belen and David G Taylor present their non-conforming queer bodies in their full glory. And these are just the tip of the ice [cream].
One of the exhibition’s highlights is the interactive installation “California Dreaming”.
If you cannot afford a winter holiday on a sunny beach, or won’t do it for environmental reasons, you are invited to take a selfie on an imaginary one: use the tropical beach shower curtain background and some of the props for it. The brave ones are welcome to do it in their swimming wear. If you post it on Instagram and tag @SEAS_Brighton we will print it for you on A4 quality paper and let you know when you can collect it from the library.
As part of the exhibition, on Saturday, February 3rd from 11:30 to 13:00 SEAS will hold a social gathering where three celebrated authors: Andreas Philippopoulos-Mihalopoulos, Andrew Kay, and Helen will read from books featuring the seaside. In the Q&A after the reading, they will discuss their ideal queer beach. The event is free and open to all.
An hour before and after the event on February 3rd a professional photographer will offer a free photoshoot at the installation where participants will receive their photos on the spot.
The exhibition is curated by Dr Gil Mualem-Doron and the participants are: Alex Billingham, Amitrano Maria Belen, Antony Edwards, Maja Bialas, Clare Plumley, Claudi Piripippi, Danny Frede, David G Taylor, Dave Pop!, Elias Avramidis, Ellen Harrold, Francesca Alaimo, Hannah Meyer, Izzy Malanczuk, Jack Jameson, Joanna Byrne, Joanne Newman, Josef Cabey, Luc Raesmith, Ludo Foster, Mario Lautier-Vella, Norman Miller, Patrick Will Baker, Roberto Funai, Robert Inestroza, Rowan Frewin, Sarah Connell, Sebastian Rowlands, Thomas Griffiths, Tony Mentel.
Christopher Corr & Andrew Kay
I was born in Camden Town and studied Illustration at the Royal College of Art in London.
I illustrate books for adults & children, make wallpapers & textiles and paintings for exhibitions.
My 2 most recent books are a celebration of world festivals and global migration.
The painting was created for the cover of the book Pretty Boys All In A Row by Andrew Kay.
Andrew Kay studied at Chelsea School of Art, and after graduating had a successful 16 year career in publishing as an award winning art director, after which he worked as a designer in theatre before moving into magazines as art director, writer and popular columnist.
His writing now encompasses published fiction, Pretty Boys All In A Row and performed drama, I will Survive (WOW! New Drama Winner). Morning Glory which premiered in London before heading to the Edinburgh Fringe starring Jason Sutton (Miss Jason) and more recently played to sell out audiences at Theatre Royal Brighton’s studio format season starring Allan Cardew. His new play Punchlines will open this April at the Lantern Theatre in Brighton starring Coronation Street star Brian Capron.
He is Creative Director for Latest TV where he has produced, directed and presented many programmes including the successful TV series International Chef Exchange (Amazon Prime) which took him all over Europe and to Canada, as well as the popular cookery programmes Cook It! and Latest Homes Live and he is a regular reporter on Latest TV News. His chat shows AK Soufflé and Look Out! saw him talking to LGBTQI+ celebrities about their private lives and their professional careers and he made over 200 episodes of Queersay, an LGBTQ+ global news review programme where he talked with regular guests, including local LGBTQ+ hero James Ledward, about how the media deals with queer issues. He has also made an hour long documentary interviewing activist and champion Peter Tatchell.
He continues to write for thelatest.co.uk online specialising in food and drink, theatre, opera and arts and teaches at East Sussex College. Writing and cooking are his passions and he is never far from a pen or a pan!
Andrew will read from his book at the Queer Beach gathering event at the Jubilee Library as part of the LGBTQ History Month.
I illustrate books for adults & children, make wallpapers & textiles and paintings for exhibitions.
My 2 most recent books are a celebration of world festivals and global migration.
The painting was created for the cover of the book Pretty Boys All In A Row by Andrew Kay.
Andrew Kay studied at Chelsea School of Art, and after graduating had a successful 16 year career in publishing as an award winning art director, after which he worked as a designer in theatre before moving into magazines as art director, writer and popular columnist.
His writing now encompasses published fiction, Pretty Boys All In A Row and performed drama, I will Survive (WOW! New Drama Winner). Morning Glory which premiered in London before heading to the Edinburgh Fringe starring Jason Sutton (Miss Jason) and more recently played to sell out audiences at Theatre Royal Brighton’s studio format season starring Allan Cardew. His new play Punchlines will open this April at the Lantern Theatre in Brighton starring Coronation Street star Brian Capron.
He is Creative Director for Latest TV where he has produced, directed and presented many programmes including the successful TV series International Chef Exchange (Amazon Prime) which took him all over Europe and to Canada, as well as the popular cookery programmes Cook It! and Latest Homes Live and he is a regular reporter on Latest TV News. His chat shows AK Soufflé and Look Out! saw him talking to LGBTQI+ celebrities about their private lives and their professional careers and he made over 200 episodes of Queersay, an LGBTQ+ global news review programme where he talked with regular guests, including local LGBTQ+ hero James Ledward, about how the media deals with queer issues. He has also made an hour long documentary interviewing activist and champion Peter Tatchell.
He continues to write for thelatest.co.uk online specialising in food and drink, theatre, opera and arts and teaches at East Sussex College. Writing and cooking are his passions and he is never far from a pen or a pan!
Andrew will read from his book at the Queer Beach gathering event at the Jubilee Library as part of the LGBTQ History Month.
Helen Trevorrow
The perfect lesbian beach by Helen Trevorrow
We are here in every weather, in the frothy swell of winter, and the viscous skin of Spring. But on this, the perfect lesbian beach, we always begin at dawn, our collective breath taken as we descend into the cold spice of water.
We prefer the Summer, naturally, but still we undress, breathe and dip our bodies into the sea on each and every day of the year, including Christmas. Our laughter rides the surf, amplified, and undiminished. On the beach we are all at once together again recharged in our original source. You can tie us up and throw us in but us modern-day witches, will always float.
The only cock we see for miles comes with a tail and served over plenty of ice. Please note that this is an all-inclusive fantasy resort and we welcome all women. In the designated VIP area, Cate Blanchett, dressed in a vintage Carol Aird-esque swim-suit and 1950’s over-sized sunglasses reclines on a sun-lounger while beach boy Timothee Chalamet attends to her fringed umbrella. From the shallows Jodie Foster screams out encouragement, blowing her whistle at swimmers, and as the energy of the day builds Kristen Stewart, encircled by a gang of pals, arrives on a jet ski doing doughnuts, and spouting loud dance music from her engine.
Many of us deserve the pleasure of solitude. We are all goddesses when we hit the beach away from prying eyes. We sometimes like to be alone, dripping in solitude, free to be ourselves.
But on this perfect beach we are all together. Scores of women run across the sand, (shingle and stone), attired in the uniform of SuperDry, some in much much less, we hope, yet most of us in Dry Robes. We like tight neoprene suits, swimming gloves and distressed baseballs caps. But mostly we pray for women to run towards us with those plentiful puppies, beautiful bouncy puppies in all shapes and sizes (no pun intended) for our beach is a canine paradise. We leave our cats at home.
We have a lot of stuff. Barbecues, sauces, bottles of fizz, windbreakers, paddleboards, kayaks, deck chairs, large speakers and a gazebo just in case it rains. We are mothers after all, used to caring for little people, but today we have the babysitters in and from time to time we check our phones to see that all is well.
To transport the many things we bring and parked in neat rows are our camper vans; the Mazda Bongo, the VW Transporter, and the Ford Transit van, fully converted, at great cost by a man in Wales.
The sun blares down on us and once the temperature starts to rise the DJ turns up the heat and dishes out house music, her black skin shining, she smiles, moves her head to the beat, long braids whirling.
We don’t queue. Delightful tapas is brought to us by senoritas, and plates of sushi delivered to our sun loungers. We barbecue like Australians, chatting while we cook and drink beer and Champagne, while ensuring that there is separate provision for our vegan sisters.
No toxic love here just good vibes. And love there is. Old love holding hands and rubbing sun cream into each other’s backs, new love touching fingers, staring and rubbing sun cream into each other’s bodies.
England’s glorious women’s football team organise a barefoot kick-about with us in the sand. We respectfully tackle them. An androgynous Olympic team of volleyball players leap about athletically, their efforts underscored with whoops and grunts. Occasionally we turn our heads to listen, and to stare.
And as the sun sets, our we gather around the glowing embers of the fire to talk and laugh. And we imagine a huge superyacht arriving to transport us, one and all to Lesbos, our spiritual home.
Image: GMD & AI
Helen Trevorrow is an Amazon top 10 best selling author. Her first novel, In The Wake is a feminist crime thriller that explores sexuality, family and alcoholism. Her second novel, New Brighton is a speculative thriller set in a dystopian near-future. Helen loves 1980s sci-fi movies and nice stationery.
We are here in every weather, in the frothy swell of winter, and the viscous skin of Spring. But on this, the perfect lesbian beach, we always begin at dawn, our collective breath taken as we descend into the cold spice of water.
We prefer the Summer, naturally, but still we undress, breathe and dip our bodies into the sea on each and every day of the year, including Christmas. Our laughter rides the surf, amplified, and undiminished. On the beach we are all at once together again recharged in our original source. You can tie us up and throw us in but us modern-day witches, will always float.
The only cock we see for miles comes with a tail and served over plenty of ice. Please note that this is an all-inclusive fantasy resort and we welcome all women. In the designated VIP area, Cate Blanchett, dressed in a vintage Carol Aird-esque swim-suit and 1950’s over-sized sunglasses reclines on a sun-lounger while beach boy Timothee Chalamet attends to her fringed umbrella. From the shallows Jodie Foster screams out encouragement, blowing her whistle at swimmers, and as the energy of the day builds Kristen Stewart, encircled by a gang of pals, arrives on a jet ski doing doughnuts, and spouting loud dance music from her engine.
Many of us deserve the pleasure of solitude. We are all goddesses when we hit the beach away from prying eyes. We sometimes like to be alone, dripping in solitude, free to be ourselves.
But on this perfect beach we are all together. Scores of women run across the sand, (shingle and stone), attired in the uniform of SuperDry, some in much much less, we hope, yet most of us in Dry Robes. We like tight neoprene suits, swimming gloves and distressed baseballs caps. But mostly we pray for women to run towards us with those plentiful puppies, beautiful bouncy puppies in all shapes and sizes (no pun intended) for our beach is a canine paradise. We leave our cats at home.
We have a lot of stuff. Barbecues, sauces, bottles of fizz, windbreakers, paddleboards, kayaks, deck chairs, large speakers and a gazebo just in case it rains. We are mothers after all, used to caring for little people, but today we have the babysitters in and from time to time we check our phones to see that all is well.
To transport the many things we bring and parked in neat rows are our camper vans; the Mazda Bongo, the VW Transporter, and the Ford Transit van, fully converted, at great cost by a man in Wales.
The sun blares down on us and once the temperature starts to rise the DJ turns up the heat and dishes out house music, her black skin shining, she smiles, moves her head to the beat, long braids whirling.
We don’t queue. Delightful tapas is brought to us by senoritas, and plates of sushi delivered to our sun loungers. We barbecue like Australians, chatting while we cook and drink beer and Champagne, while ensuring that there is separate provision for our vegan sisters.
No toxic love here just good vibes. And love there is. Old love holding hands and rubbing sun cream into each other’s backs, new love touching fingers, staring and rubbing sun cream into each other’s bodies.
England’s glorious women’s football team organise a barefoot kick-about with us in the sand. We respectfully tackle them. An androgynous Olympic team of volleyball players leap about athletically, their efforts underscored with whoops and grunts. Occasionally we turn our heads to listen, and to stare.
And as the sun sets, our we gather around the glowing embers of the fire to talk and laugh. And we imagine a huge superyacht arriving to transport us, one and all to Lesbos, our spiritual home.
Image: GMD & AI
Helen Trevorrow is an Amazon top 10 best selling author. Her first novel, In The Wake is a feminist crime thriller that explores sexuality, family and alcoholism. Her second novel, New Brighton is a speculative thriller set in a dystopian near-future. Helen loves 1980s sci-fi movies and nice stationery.
Alf Le Flohic
The Queer Seaside / Alf Le Flohic
Studies have shown that spending time by the sea is good for our sense of wellbeing. The vast expanse of water, with little else, is emotionally restorative. When combined with sunshine, relaxation, and friends, the enduring popularity of the seaside is obvious.
The sense of freedom associated with the coast has long been a draw for LGBT people too. Where better for those who can feel on the edge of society to be themselves, than literally on the edge of the land?
Since the opening of the London to Brighton trainline in 1841, Brighton & Hove has become a popular destination for relaxation, recuperation, and recreation. Even before that date, records exist of same-sex escapades taking place on our seafront.
In 1822, George Wilson met a guardsman in the Duke of Wellington pub in Pool Valley just off the front. We know this because, unfortunately, he made the papers and ended up in prison when he offered the soldier money to “commit an unnatural crime” on the beach with him. Soldiers at that time were known to make money on the side with a little light prostitution, so you can't blame George for trying his luck!
On a jollier note, the decoded diaries of Anne Lister (aka Gentleman Jack), records her and her lover Mariana Lawton staying at the Royal York Hotel in the Old Steine in 1826. They spent three days waiting for a boat to France. During that time the couple walked the “delightful” promenade and viewed the “beautiful” Suspension Chain Pier. They also passed the time in other ways: “Good kiss last night. Got into bed again this morning for half an hour and had another kiss.”
After taking a dip in the sea was declared good for your health, the Victorians introduced segregated bathing. Everyone knows about the huts they used for getting in and out of the sea, but far fewer people know that Hove had its very own Men’s Beach.
Daring Hearts by Brighton Ourstory is an amazing record of lesbian and gay lives in the city in the 1950s and 60s. In the book, Peter describes the Men’s Beach as “notoriously gay.” Grant goes on to say, “It was men only. There was nothing in the rest of the country to compare. Of course, they never went in the sea; they never got their beautiful bikinis wet. If you went far enough down, there was no such thing as wearing any clothing.”
There were also many pubs down on the beach that attracted a rather queer clientele. Grant remembers: “The Fortune of War and the Belvedere were mostly used by the very big butch lesbians that really looked like navvies, with bovver boots, suits, and chains.”
In July 1973, the Sussex Gay Liberation Front staged Brighton’s first Gay Pride and used the beach for a couple of events. On the Friday night before the march, there was a midnight gay wedding between John and Graham to the west of the Palace Pier, and a gay picnic in the same location on the Sunday afterwards.
David Maplesden attended the picnic along with “Kay Ashton, who liked to be known as ‘the transsexual from Manchester,’”. He remembers her hair went a funny colour after a dip in the sea because “the water must have been polluted or she used cheap dyes!”
The West Pier closed completely in 1975 after falling into disrepair. Throughout the 1980s and into the '90s, the area found a new use. In Brighton’s Seaside Stories from QueenSpark Books, ‘Piers’ tells how: “The decaying arches under the west pier were a hotbed of action.” He narrowly escaped arrest after the police arrived one evening with torches. “The arches were boarded up after that, spoiling our fun.”
The beach itself has, on occasion, become a political space. In 1988, as a direct response to Section 28, the first day of the Conservative party conference in October was met by a sunset protest on the beach in front of the Grand Hotel. As the sun went down, the protestors lit flaming torches. The organisers, Lesbian and Gay Spirit Rising, said in advertising literature: “With one voice, as one people, as a single wave inevitably crashing on the shore, we say to you that our time for freedom has arrived.”
In 1992, Brighton Area Against Section 28 organized a ‘Queer on the Pier’ event as part of Pride. The pier was notoriously rough at that time, not made any better by the News of The World whipping people into a frenzy about the “11-day gay bash,” in a none-too-subtle call to action.
One official gathering spot open to anyone who likes to bare it all is, of course, the Naturist Beach, tucked away down the Kemptown end. Being the first nudist beach in the UK when it opened in 1980, it caused considerable controversy. Local Tory councillor John Blackman described it at a council meeting as a “flagrant exhibition of mammary glands.” Whatever your position on mammaries… the beach has always had a significant LGBT fan base.
Even before the nudist beach arrived, that area was popular, as Janine says in Daring Hearts: “I used to come back to Brighton with various girlfriends. I knew all the pools, Black Rock pool and everything and the beaches round there, and I used to take all my gay friends down there, and we’d have a marvellous sort of day.”
Close by and considered by some to be clothing optional as well, is the heavily shrubbed Duke’s Mound. Generally known as ‘The Bushes’, this is a long-standing cruising area for those with a taste for outdoor adventures. Adjacent to that, and much preferred in poor weather conditions, is the 'Temple of Love.' Built in 1935, it was originally constructed as a reading room for locals. Many things have been picked up here, but paperbacks would not be among them…
Brighton & Hove beaches have never been exclusively for family fun. We have queered the pebbles and beyond with our protests, our pride, and our passion.
Photo: David Champion
Photo reproduced with permission of Mike Lancaster and Alejandro Martinez-Rodriquez. The image shows Micheal Champion and David Burrell, on a ‘gay’ beach just down from Hove Lawns circa the 1950s.
Proud member of Brighton’s LGBTIQ+ mafia. Endlessly fascinated by the city’s queer history. Big fan of a bit of oral history… Hoarder of queer ephemera from late 1980s to 2000-ish. Ex-Director of Brighton Ourstory, LBG history group. Trans ally, just so we’re clear.
I’ve published a couple of wee books, written magazine articles, organised a number of exhibitions, made three short films, devised four walking tours, given several talks on a variety of topics, and appeared fleetingly on tv and local radio. I know that’s all pretty vague but you get the idea.
About Alf Le Flohic
I’ve been in Brighton for the fight against Section 28, the resurgence of Brighton Pride, the impact of HIV / AIDS… and I still love it here. I’m currently writing a history of the Sussex Gay Liberation Front.
Studies have shown that spending time by the sea is good for our sense of wellbeing. The vast expanse of water, with little else, is emotionally restorative. When combined with sunshine, relaxation, and friends, the enduring popularity of the seaside is obvious.
The sense of freedom associated with the coast has long been a draw for LGBT people too. Where better for those who can feel on the edge of society to be themselves, than literally on the edge of the land?
Since the opening of the London to Brighton trainline in 1841, Brighton & Hove has become a popular destination for relaxation, recuperation, and recreation. Even before that date, records exist of same-sex escapades taking place on our seafront.
In 1822, George Wilson met a guardsman in the Duke of Wellington pub in Pool Valley just off the front. We know this because, unfortunately, he made the papers and ended up in prison when he offered the soldier money to “commit an unnatural crime” on the beach with him. Soldiers at that time were known to make money on the side with a little light prostitution, so you can't blame George for trying his luck!
On a jollier note, the decoded diaries of Anne Lister (aka Gentleman Jack), records her and her lover Mariana Lawton staying at the Royal York Hotel in the Old Steine in 1826. They spent three days waiting for a boat to France. During that time the couple walked the “delightful” promenade and viewed the “beautiful” Suspension Chain Pier. They also passed the time in other ways: “Good kiss last night. Got into bed again this morning for half an hour and had another kiss.”
After taking a dip in the sea was declared good for your health, the Victorians introduced segregated bathing. Everyone knows about the huts they used for getting in and out of the sea, but far fewer people know that Hove had its very own Men’s Beach.
Daring Hearts by Brighton Ourstory is an amazing record of lesbian and gay lives in the city in the 1950s and 60s. In the book, Peter describes the Men’s Beach as “notoriously gay.” Grant goes on to say, “It was men only. There was nothing in the rest of the country to compare. Of course, they never went in the sea; they never got their beautiful bikinis wet. If you went far enough down, there was no such thing as wearing any clothing.”
There were also many pubs down on the beach that attracted a rather queer clientele. Grant remembers: “The Fortune of War and the Belvedere were mostly used by the very big butch lesbians that really looked like navvies, with bovver boots, suits, and chains.”
In July 1973, the Sussex Gay Liberation Front staged Brighton’s first Gay Pride and used the beach for a couple of events. On the Friday night before the march, there was a midnight gay wedding between John and Graham to the west of the Palace Pier, and a gay picnic in the same location on the Sunday afterwards.
David Maplesden attended the picnic along with “Kay Ashton, who liked to be known as ‘the transsexual from Manchester,’”. He remembers her hair went a funny colour after a dip in the sea because “the water must have been polluted or she used cheap dyes!”
The West Pier closed completely in 1975 after falling into disrepair. Throughout the 1980s and into the '90s, the area found a new use. In Brighton’s Seaside Stories from QueenSpark Books, ‘Piers’ tells how: “The decaying arches under the west pier were a hotbed of action.” He narrowly escaped arrest after the police arrived one evening with torches. “The arches were boarded up after that, spoiling our fun.”
The beach itself has, on occasion, become a political space. In 1988, as a direct response to Section 28, the first day of the Conservative party conference in October was met by a sunset protest on the beach in front of the Grand Hotel. As the sun went down, the protestors lit flaming torches. The organisers, Lesbian and Gay Spirit Rising, said in advertising literature: “With one voice, as one people, as a single wave inevitably crashing on the shore, we say to you that our time for freedom has arrived.”
In 1992, Brighton Area Against Section 28 organized a ‘Queer on the Pier’ event as part of Pride. The pier was notoriously rough at that time, not made any better by the News of The World whipping people into a frenzy about the “11-day gay bash,” in a none-too-subtle call to action.
One official gathering spot open to anyone who likes to bare it all is, of course, the Naturist Beach, tucked away down the Kemptown end. Being the first nudist beach in the UK when it opened in 1980, it caused considerable controversy. Local Tory councillor John Blackman described it at a council meeting as a “flagrant exhibition of mammary glands.” Whatever your position on mammaries… the beach has always had a significant LGBT fan base.
Even before the nudist beach arrived, that area was popular, as Janine says in Daring Hearts: “I used to come back to Brighton with various girlfriends. I knew all the pools, Black Rock pool and everything and the beaches round there, and I used to take all my gay friends down there, and we’d have a marvellous sort of day.”
Close by and considered by some to be clothing optional as well, is the heavily shrubbed Duke’s Mound. Generally known as ‘The Bushes’, this is a long-standing cruising area for those with a taste for outdoor adventures. Adjacent to that, and much preferred in poor weather conditions, is the 'Temple of Love.' Built in 1935, it was originally constructed as a reading room for locals. Many things have been picked up here, but paperbacks would not be among them…
Brighton & Hove beaches have never been exclusively for family fun. We have queered the pebbles and beyond with our protests, our pride, and our passion.
Photo: David Champion
Photo reproduced with permission of Mike Lancaster and Alejandro Martinez-Rodriquez. The image shows Micheal Champion and David Burrell, on a ‘gay’ beach just down from Hove Lawns circa the 1950s.
Proud member of Brighton’s LGBTIQ+ mafia. Endlessly fascinated by the city’s queer history. Big fan of a bit of oral history… Hoarder of queer ephemera from late 1980s to 2000-ish. Ex-Director of Brighton Ourstory, LBG history group. Trans ally, just so we’re clear.
I’ve published a couple of wee books, written magazine articles, organised a number of exhibitions, made three short films, devised four walking tours, given several talks on a variety of topics, and appeared fleetingly on tv and local radio. I know that’s all pretty vague but you get the idea.
About Alf Le Flohic
I’ve been in Brighton for the fight against Section 28, the resurgence of Brighton Pride, the impact of HIV / AIDS… and I still love it here. I’m currently writing a history of the Sussex Gay Liberation Front.
Rowan Frewin
Rowan Frewin (they/them) is an illustrator and comic artist who works mainly in risograph printing. Their work often explores themes of queer joy and LGBTQ+ history. Their practice frequently draws inspiration from their love of history, museums, and swimming.
Beach cuties (2024)
This piece is a new version of an illustration I created in 2020 as a pride month themed piece- it was originally designed as an A4 risograph print. I really wanted to create a piece that explored queer joy and swimming/ the beach.
Merperson (2024)
I was absolutely delighted when I was asked to create the cover image for this exhibition, and was particularly excited when I was given the brief of designing a Merperson. I grew up by the coast and the sea and swimming have always been an important source of euphoria for me. As someone whose relationship with swimming has at times been complicated by relationship with my body as a trans person and changing weight I wanted to embrace confident trans beauty in this design, and draw not from traditional slim depictions of mermaids but from the beautiful softness of seals and Whales.
Beach cuties (2024)
This piece is a new version of an illustration I created in 2020 as a pride month themed piece- it was originally designed as an A4 risograph print. I really wanted to create a piece that explored queer joy and swimming/ the beach.
Merperson (2024)
I was absolutely delighted when I was asked to create the cover image for this exhibition, and was particularly excited when I was given the brief of designing a Merperson. I grew up by the coast and the sea and swimming have always been an important source of euphoria for me. As someone whose relationship with swimming has at times been complicated by relationship with my body as a trans person and changing weight I wanted to embrace confident trans beauty in this design, and draw not from traditional slim depictions of mermaids but from the beautiful softness of seals and Whales.
Hannah Meyer
Hannah Meyer is a queer figurative artist living in Brighton. They have completed their undergraduate degree in Fine Art: Painting at the University of Brighton and have participated in several shows including ‘Pink and Purple’ and ‘Debutantes’, as well as having their work featured in Lav Magazine.
My recent practice as focused on the balance between fetishisation and tenderness within Queer relationships. The pieces are playful and aim to subvert heteronormative expectations as well as challenge gender roles. The work does not intend to shock its audience, instead, I hope for the viewer to reflect on any ideas they may project onto the queer body.
Key motifs that reoccur throughout my body of work include accessorising and dressing up. Looking at clothing (or lack thereof) has allowed me to be playful with serious topics such as reclaiming space and slurs. The works aim to subvert a traditionally masculine roles by placing LGBT individuals into a setting where they would not have been allowed to exist.
My recent practice as focused on the balance between fetishisation and tenderness within Queer relationships. The pieces are playful and aim to subvert heteronormative expectations as well as challenge gender roles. The work does not intend to shock its audience, instead, I hope for the viewer to reflect on any ideas they may project onto the queer body.
Key motifs that reoccur throughout my body of work include accessorising and dressing up. Looking at clothing (or lack thereof) has allowed me to be playful with serious topics such as reclaiming space and slurs. The works aim to subvert a traditionally masculine roles by placing LGBT individuals into a setting where they would not have been allowed to exist.
Robert Inestroza
B.1966 in NYC, USA. Based in Nîmes, France.
Robert studied at Emily Carr University, Vancouver, and Art Students League, NYC. His subtlety surreal figurative oil painting and sculpture explore the complexities of identity through the prism of contemporary culture. His practice examines issues of consumerism, the digital world, gender, vanity, technology, civil unrest, and transformation.
https://www.instagram.com/robert_i__
https://www.robertinestroza.art
Summer’s End, Oil on Canvas, sand - 200x100cm
”Summer's End" is a large diptych oil painting that captures the last day of summer at L’espiguette gay beach in southern France. The painting vividly portrays the joy and carefree attitude of beachgoers relishing the approaching sunset, their camaraderie and friendship, and the lush flora and fauna of the area. The complimentary use of bold blues and oranges creates contrast, while the incorporation of actual sand into the paint adds a unique texture and authenticity to the beach scene. The painting is a vibrant and evocative tribute to the fleeting beauty of summer's end.
Robert studied at Emily Carr University, Vancouver, and Art Students League, NYC. His subtlety surreal figurative oil painting and sculpture explore the complexities of identity through the prism of contemporary culture. His practice examines issues of consumerism, the digital world, gender, vanity, technology, civil unrest, and transformation.
https://www.instagram.com/robert_i__
https://www.robertinestroza.art
Summer’s End, Oil on Canvas, sand - 200x100cm
”Summer's End" is a large diptych oil painting that captures the last day of summer at L’espiguette gay beach in southern France. The painting vividly portrays the joy and carefree attitude of beachgoers relishing the approaching sunset, their camaraderie and friendship, and the lush flora and fauna of the area. The complimentary use of bold blues and oranges creates contrast, while the incorporation of actual sand into the paint adds a unique texture and authenticity to the beach scene. The painting is a vibrant and evocative tribute to the fleeting beauty of summer's end.
Tony Mentel
Duke's Mound Boys series [with the view to the Naturist Beach].
A graduate of the Royal College of Art, Tony Mentel’s work uses vintage and recycled textiles and embroidery to explore themes of queer history. He portrays intimate interactions and memories in dream like landscapes. Inspired by queer elders who have shared their stories of what it was like to be different in a less tolerant past, tales of cruising, and secret love, lust, and romance.
A graduate of the Royal College of Art, Tony Mentel’s work uses vintage and recycled textiles and embroidery to explore themes of queer history. He portrays intimate interactions and memories in dream like landscapes. Inspired by queer elders who have shared their stories of what it was like to be different in a less tolerant past, tales of cruising, and secret love, lust, and romance.
Ellen Harrold
Ellen Harrold is an artist, writer, and editor of Metachrosis Literary. She is currently exploring the connections between science, art, and storytelling. She has recently published poetry with Die Leere Mitte, New Note Poetry, and Skylight 47. She also published her first book ‘The Aesthetics and Conventions of Medical Art.'.
We Both Shimmer As We dance
Statement: There is beauty in the architecture of anatomy and the carefree existence that exists so far beyond the known. Marine life, in particular, exists so far beyond our scope of experience, the architecture of their anatomy so carefully crafted to the environment and the lives they lead. To exist wholly on your own terms in an environment that seems completely inhospitable to most living things is an act of defiance toward our notions of normalcy. Nothing could be more queer.
We Both Shimmer As We dance
Statement: There is beauty in the architecture of anatomy and the carefree existence that exists so far beyond the known. Marine life, in particular, exists so far beyond our scope of experience, the architecture of their anatomy so carefully crafted to the environment and the lives they lead. To exist wholly on your own terms in an environment that seems completely inhospitable to most living things is an act of defiance toward our notions of normalcy. Nothing could be more queer.
Gil Mualem-Doron
Welcome to Praia do Abrico. The work is a creative campaign for Abrico queer beach near Rio de Jannero. It was created during an artist residency in Brazil in 2023. The model, Leon, is a stock broker, company owner, avid traveler and used to be a model. Reaching the age of 40+ we discussed the issues of getting old in the gay scene, and as a model. The collaborative photoshoot is part of a self funded 8 years in the making project No Man's Lands. Parts of the project was exhibited in various galleries in the UK, Israel, South Africa and Germany.
Gil Mualem-Doron is a socially engaged artist, curator and community facilitator. He is the founder and creative director of the Socially Engaged Art Salon.
http://www.gmdart.com
Gil Mualem-Doron is a socially engaged artist, curator and community facilitator. He is the founder and creative director of the Socially Engaged Art Salon.
http://www.gmdart.com
Antony Edwards
Since moving to Brighton in 2021, Antony Edwards has become a trusted photographer within the LGBTQ+ community. Stand-out projects include photographing the first fundraising campaign for The Ledward Centre, promo shots for Leathermen South and a photographic collaboration between artist Sarah Arnett and Brighton author, Daren Kay for his forthcoming second novel.
Brighton’s nudist beach is located just across the road from Dukes Mound (‘The Bushes’), a well-known cruising spot. The beach has a long history within the LGBTQ+ community as a place to socialise and relax without judgement, while The Bushes offer (mostly) gay men the attraction of engaging in casual sex. Through this project I wanted to capture queer folk in a public space where they can let down their guard, break taboos and feel liberated.
Social media:
Hey, can I take your picture? Instagram @hey.canitakeyourpicture
Model:
Wayne photographed on Brighton Nudist Beach 01.08.23
I usually visit Brighton’s nudist beach at least once a week, perhaps a couple of times a week if the weather is nice. There I feel free, it’s quieter and there’s also a chance to see some sexy fellas ;)
I’ve had a few memorable experiences, but not sure I can answer here! Let’s just say I’ve had some underwater fun on one occasion.
During this photoshoot I acquired a new-found confidence and increased self acceptance, thanks to Antony’s comfortable and lovely nature when photographing me.
Brighton’s nudist beach is located just across the road from Dukes Mound (‘The Bushes’), a well-known cruising spot. The beach has a long history within the LGBTQ+ community as a place to socialise and relax without judgement, while The Bushes offer (mostly) gay men the attraction of engaging in casual sex. Through this project I wanted to capture queer folk in a public space where they can let down their guard, break taboos and feel liberated.
Social media:
Hey, can I take your picture? Instagram @hey.canitakeyourpicture
Model:
Wayne photographed on Brighton Nudist Beach 01.08.23
I usually visit Brighton’s nudist beach at least once a week, perhaps a couple of times a week if the weather is nice. There I feel free, it’s quieter and there’s also a chance to see some sexy fellas ;)
I’ve had a few memorable experiences, but not sure I can answer here! Let’s just say I’ve had some underwater fun on one occasion.
During this photoshoot I acquired a new-found confidence and increased self acceptance, thanks to Antony’s comfortable and lovely nature when photographing me.
Francesca Alaimo
I am a self-taught London-based visual artist. My work is centered on intersectional feminism, queer identity and existentialism; it explores themes of shame, queer identity, vulnerability, and courage, starting a discourse on gender non-conformity, body awareness, radical existence, and identity validation from a place of questioning.
At the core of my artistic practice is the belief that by disclosing our differences we create links with people who share our experiences but don’t feel validated. The Artist has the skill to empower the viewer to share who they are, initiating a contagious wave of (self)acceptance and (self)love.
At the core of my artistic practice is the belief that by disclosing our differences we create links with people who share our experiences but don’t feel validated. The Artist has the skill to empower the viewer to share who they are, initiating a contagious wave of (self)acceptance and (self)love.
Sarah Connell
A series of photographs documenting walks along the coastal path in Cornwall. Living in
Manchester I’m drawn to coastal locations, vast expanses of open space in stark contrast to
the dense city that I live.
Working exclusively in black and white, the usual colours associated with the landscape
have been replaced by shades of grey.
The series takes the viewer up onto the cliffs, individual blades of grass emerge in the
images. Small details we’d ordinarily miss. The work provides the viewer with a space to
question their relationship with the natural world.
These initial explorations became the foundation for my most recent series ‘Onto the Edge’.
A body of work that focuses on the place that ‘the land meets the sea’.
www.sarahconnell.co.uk
Manchester I’m drawn to coastal locations, vast expanses of open space in stark contrast to
the dense city that I live.
Working exclusively in black and white, the usual colours associated with the landscape
have been replaced by shades of grey.
The series takes the viewer up onto the cliffs, individual blades of grass emerge in the
images. Small details we’d ordinarily miss. The work provides the viewer with a space to
question their relationship with the natural world.
These initial explorations became the foundation for my most recent series ‘Onto the Edge’.
A body of work that focuses on the place that ‘the land meets the sea’.
www.sarahconnell.co.uk
David G Taylor
David G Taylor
With ‘I Tell the Sea My Secrets’ I’ve repurposed a found photo of a handsome
Victorian gentleman and reinvented him as a merman. It’s a work inspired by my
lonely pandemic lockdown walks along deserted Bournemouth beaches and a poem
about longing for connection, I wrote, that begins, ‘I tell the sea my secrets, the
waves absorb my fears...’
Taylor (b. Wirral, Merseyside, 1968) is a queer English artist who relocated to
Brighton from London in 2022. Inspired by Dadaism and Pop Art, David’s artwork
investigates the human condition through a prism of fantasy. Liminal spaces,
neurodiversity, substance abuse, body image, the LGBTQAI+ experience and the
healing power of imagination are among the subjects he explores.
Thanks for stopping to look. Please check out my work on Instagram. And if you’d
like to buy a print, please send me a DM.
With ‘I Tell the Sea My Secrets’ I’ve repurposed a found photo of a handsome
Victorian gentleman and reinvented him as a merman. It’s a work inspired by my
lonely pandemic lockdown walks along deserted Bournemouth beaches and a poem
about longing for connection, I wrote, that begins, ‘I tell the sea my secrets, the
waves absorb my fears...’
Taylor (b. Wirral, Merseyside, 1968) is a queer English artist who relocated to
Brighton from London in 2022. Inspired by Dadaism and Pop Art, David’s artwork
investigates the human condition through a prism of fantasy. Liminal spaces,
neurodiversity, substance abuse, body image, the LGBTQAI+ experience and the
healing power of imagination are among the subjects he explores.
Thanks for stopping to look. Please check out my work on Instagram. And if you’d
like to buy a print, please send me a DM.
Jack Jameson
Venus as a Freak - moving image.
Jack Jameson is a queer multimedia artist using image, mise en scené, editting methods and motion to depict unworldly narratives of the queer form.
They often uses collage editting and illustration techniques to create and reimagine environments.
Their recent piece Devolve and Devour paints a hybrid queer devolved to a predecessor in an apocalyptic environment. A visual for the queer destruction of genesis.
They work as a creative construction coordinator at a set building company. Where their knowledge of sets and props has allowed them to craft and style scenery and costume for projects.
Jack Jameson is a queer multimedia artist using image, mise en scené, editting methods and motion to depict unworldly narratives of the queer form.
They often uses collage editting and illustration techniques to create and reimagine environments.
Their recent piece Devolve and Devour paints a hybrid queer devolved to a predecessor in an apocalyptic environment. A visual for the queer destruction of genesis.
They work as a creative construction coordinator at a set building company. Where their knowledge of sets and props has allowed them to craft and style scenery and costume for projects.
Danny Frede
Danny Frede was born in 1982 in Sondersausen (Thuringia/ Germany) is an artist. Danny considers his gap year in Cologne as a community servant in 2000 and decided not to go to college afterwards. His art work inside the urban periphery deals with the translation of traditional concepts of painting into the views of everyday life that have been increasingly influenced by digital processes.
Young men and slaughtered animals
The photographic series arranges the bodies of young men with those of dead animals ; between irritating disgust and aesthetic fascination. Both the men and the animals alike have been butchered, skinned, and plugged to become supermarket products in a digital iconoclasm. Seemlingly in the distance are the naked and hairless bodies of the adolescent males that present the lifeless creatures into the camera; holding the creatures in their hand or wearing them on their shoulders. The recordings cite motifs from the renaissance period, while breaking with the contemporary taboo of death’s visibility. The bloody head of rabbit or the cut throat of a suckling pig receive a new aesthetic quality through the gripping power of its wearer. The animals are not just prey, they are rather a disturbing reminder of the youthful hunter’s own mortality, in times of ever shorter and more efficient breeding cycles regarding their industrial production.
Young men and slaughtered animals
The photographic series arranges the bodies of young men with those of dead animals ; between irritating disgust and aesthetic fascination. Both the men and the animals alike have been butchered, skinned, and plugged to become supermarket products in a digital iconoclasm. Seemlingly in the distance are the naked and hairless bodies of the adolescent males that present the lifeless creatures into the camera; holding the creatures in their hand or wearing them on their shoulders. The recordings cite motifs from the renaissance period, while breaking with the contemporary taboo of death’s visibility. The bloody head of rabbit or the cut throat of a suckling pig receive a new aesthetic quality through the gripping power of its wearer. The animals are not just prey, they are rather a disturbing reminder of the youthful hunter’s own mortality, in times of ever shorter and more efficient breeding cycles regarding their industrial production.
Dave Pop !
Dave Pop ! Is a Brighton based artist creating bright bold pop art with a generous topping of seaside sauce, inspired by traditional fairground art and lettering found on the seafront.
Elias Avramidis
The island illustration
“The Island” is a series of 8 illustrations inspired by the characters of the book “Our Distance Became Water” by Andreas Philippopoulos-Mihalopoulos (published by ERIS press in 2023). This series of illustrations deals with the human figure within an aquatic geometry of colours. The human figures are kept uncoloured so that they appear as alien and unintegrated as possible in their aquatic environment. This is both an ecological metaphor and a way of expressing the anthropocenic peculiarity of our planetary emplacement.
Elias Avramidis, visual artist and school business professional, lives between London and Venice. His art is a hybrid of figure drawing and geometrical patterns. His practice involves colour pencils on textured paper. He has participated in exhibitions and publications in the UK and abroad. He won the Artist of the Month (April 2023) by ARTfromHEART.
Website: eliasavramidis.com
“The Island” is a series of 8 illustrations inspired by the characters of the book “Our Distance Became Water” by Andreas Philippopoulos-Mihalopoulos (published by ERIS press in 2023). This series of illustrations deals with the human figure within an aquatic geometry of colours. The human figures are kept uncoloured so that they appear as alien and unintegrated as possible in their aquatic environment. This is both an ecological metaphor and a way of expressing the anthropocenic peculiarity of our planetary emplacement.
Elias Avramidis, visual artist and school business professional, lives between London and Venice. His art is a hybrid of figure drawing and geometrical patterns. His practice involves colour pencils on textured paper. He has participated in exhibitions and publications in the UK and abroad. He won the Artist of the Month (April 2023) by ARTfromHEART.
Website: eliasavramidis.com
Maja Bialas
I'm Maja Bialas, a Polish non-binary artist based in Brighton. My illustrations explore self-expression, feminism, and equality, drawing inspiration from the bold colours that give me life and excitement. No. 2, part of the poster series 'Brighton Psychedelia', celebrates Brighton as a haven for self-expression and LGBTQ acceptance; it exudes the 60s psychedelic style.
My pronouns are they/them, and you can find my work on
My pronouns are they/them, and you can find my work on
Claudi Piripippi
Born in Germany and raised in Italy, my academic formation developed between Italy, the UK and the US but my cultural experience would be void without the knowledge gathered from nature and an itinerant lifestyle in the pursuit of art and love — and fluidity. In 2021 I have renamed myself Claudi Piripippi.
My work is a collaboration with my wound and with the galaxy of events that contributes to the cosmic pain. It’s a collaboration with my consciousness: a collective of voices and mysterious energies that guide my practice. Since graduating from Suzanne Lacy’s MFA program I leaped in to radical eco-glitch-feminism. I voice myself through performances, videos and interactive poetry to depict the tension between private/public keeping.
My work is a collaboration with my wound and with the galaxy of events that contributes to the cosmic pain. It’s a collaboration with my consciousness: a collective of voices and mysterious energies that guide my practice. Since graduating from Suzanne Lacy’s MFA program I leaped in to radical eco-glitch-feminism. I voice myself through performances, videos and interactive poetry to depict the tension between private/public keeping.
Joanna Byrne
Joanna Byrne (she/her) is a bi+ Leeds/Bradford-based artist filmmaker who takes material, performative, collaborative and sustainable approaches to creating moving image. She works with analogue film in a tactile way - incorporating found footage, hand-manipulation and physical traces of her body into her work, and performs with live expanded cinema.
tectum argenti (2022) 9 mins,16mm film: digitised.
A moving meditation on therapeutic healing through reconnecting with the self in nature: shot, home-processed and hand-edited on black-and-white 16mm film. "Tectum argenti" is the alchemists' name for bismuth (Bi in the periodic table), meaning, 'silver being made'. Connecting the latent image in photography to coming out as bi+ in mid-life, the film evokes a difficult, at times euphoric journey of healing from the past. Loosely structured into four movements referencing the basic alchemical elements, internal and external landscapes intertwine in an assemblage of fractured but interconnected poetic gestures, multiple exposures, textural images, and abstract marks upon the film’s surface.
Artist's website: https://www.joannaruthbyrne.com
tectum argenti (2022) 9 mins,16mm film: digitised.
A moving meditation on therapeutic healing through reconnecting with the self in nature: shot, home-processed and hand-edited on black-and-white 16mm film. "Tectum argenti" is the alchemists' name for bismuth (Bi in the periodic table), meaning, 'silver being made'. Connecting the latent image in photography to coming out as bi+ in mid-life, the film evokes a difficult, at times euphoric journey of healing from the past. Loosely structured into four movements referencing the basic alchemical elements, internal and external landscapes intertwine in an assemblage of fractured but interconnected poetic gestures, multiple exposures, textural images, and abstract marks upon the film’s surface.
Artist's website: https://www.joannaruthbyrne.com
Seb Rowlands
Title: Uplift
Format: 1 minute video and audio
Statement about the work:
Uplift focuses on the liminal space of the tidal zone as a site for transformation, particularly for trans people. An in-between place that breaks down normative rules, promises physical and psychological renewal.
There is temporal instability. Discomfort and euphoria. Existing in the present but touching a future state/self.
My experience of this space is an embodied one. A rare moment I connect with my body, understood closely with cyclical waves, tides, currents, seasons.
The audio uses tidal height data for significant dates in my transition, turned into musical pulses then softer sine waves as the weight of microaggressions slip away.
Artist bio:
Seb Rowlands (they/them) is a non-binary artist in Brighton. Their art spans across digital media, installation, textiles, sculpture, painting, and printmaking, and is concerned with themes of gender identity. As autobiographical experience of being trans and as a critical response to a world which ‘others’ and erases gender non-conforming queerness.
Website: sebastianrowlands.com
Format: 1 minute video and audio
Statement about the work:
Uplift focuses on the liminal space of the tidal zone as a site for transformation, particularly for trans people. An in-between place that breaks down normative rules, promises physical and psychological renewal.
There is temporal instability. Discomfort and euphoria. Existing in the present but touching a future state/self.
My experience of this space is an embodied one. A rare moment I connect with my body, understood closely with cyclical waves, tides, currents, seasons.
The audio uses tidal height data for significant dates in my transition, turned into musical pulses then softer sine waves as the weight of microaggressions slip away.
Artist bio:
Seb Rowlands (they/them) is a non-binary artist in Brighton. Their art spans across digital media, installation, textiles, sculpture, painting, and printmaking, and is concerned with themes of gender identity. As autobiographical experience of being trans and as a critical response to a world which ‘others’ and erases gender non-conforming queerness.
Website: sebastianrowlands.com
Josef Cabey
Me myself and..
A project depicting people with animals. This work is digital, but utilises colour and texture sampled from some of my pre-existing physical artwork (Acrylic). Multi-layered, the works are tongue in cheek with animals sitting upon the head of the people like a bizarre hat. The work also pays homage to cultural practices of carrying or transporting important items on heads such as water, food, or clothing. As an aside the titles obliquely reference music by a certain daisy age Hip Hop group!
From London now based in Brighton I originally studied graphic design and illustration. I now develop my own visual art practice as well as undertaking design commissions.
My paintings are produced mostly in acrylic and are primarily figurative. These figures are constructed using scalpel cut board. The negative shapes from the cut outs are filled with painted texture making up the definition or expression of the image. This work has a certain physical depth due to the cut and layered elements within it. I often incorporate collage juxtaposing printed images with the deep painted texture. Possibly as a reflection of my design background I also like to incorporate text. My work sometimes has a playful element to it but invariably investigates deeper themes.
I have always always been concerned with human relationships framed by my own personal identity in my work. Childhood, black LGBTQ experience, outlines, cut-out figures, animals serving as metaphor for human conditions, texture; these core elements mingle with additional influences, from a fascination with stained glass windows to 1970's-80's underground New York club culture.
My paintings have been described as a body of work which is often quirky, decorative and highly colourful, but that often contains an undercurrent that disturbs the joke, pointing at deeper themes of race, class and sexuality which I guess points in the right direction. As a former DJ (hobby) who is still actively engaged in a digital Remix/Re-edit culture and who is passionate about underground disco music, some of my paintings pay tribute to that sub culture or are titled after significant songs. I must also pay homage to the one and only Ms Grace Jones who's outward freakishness at a time when it was less common for a black creative to be thus inspired me greatly as a visual maker.
I have recently started experimenting with using more three dimensional forms within my work.
Work has been shown in a variety of contexts (see below), and original artworks have found their way to many corners of the globe, including Japan, Singapore, Australia, Italy and the USA.
A project depicting people with animals. This work is digital, but utilises colour and texture sampled from some of my pre-existing physical artwork (Acrylic). Multi-layered, the works are tongue in cheek with animals sitting upon the head of the people like a bizarre hat. The work also pays homage to cultural practices of carrying or transporting important items on heads such as water, food, or clothing. As an aside the titles obliquely reference music by a certain daisy age Hip Hop group!
From London now based in Brighton I originally studied graphic design and illustration. I now develop my own visual art practice as well as undertaking design commissions.
My paintings are produced mostly in acrylic and are primarily figurative. These figures are constructed using scalpel cut board. The negative shapes from the cut outs are filled with painted texture making up the definition or expression of the image. This work has a certain physical depth due to the cut and layered elements within it. I often incorporate collage juxtaposing printed images with the deep painted texture. Possibly as a reflection of my design background I also like to incorporate text. My work sometimes has a playful element to it but invariably investigates deeper themes.
I have always always been concerned with human relationships framed by my own personal identity in my work. Childhood, black LGBTQ experience, outlines, cut-out figures, animals serving as metaphor for human conditions, texture; these core elements mingle with additional influences, from a fascination with stained glass windows to 1970's-80's underground New York club culture.
My paintings have been described as a body of work which is often quirky, decorative and highly colourful, but that often contains an undercurrent that disturbs the joke, pointing at deeper themes of race, class and sexuality which I guess points in the right direction. As a former DJ (hobby) who is still actively engaged in a digital Remix/Re-edit culture and who is passionate about underground disco music, some of my paintings pay tribute to that sub culture or are titled after significant songs. I must also pay homage to the one and only Ms Grace Jones who's outward freakishness at a time when it was less common for a black creative to be thus inspired me greatly as a visual maker.
I have recently started experimenting with using more three dimensional forms within my work.
Work has been shown in a variety of contexts (see below), and original artworks have found their way to many corners of the globe, including Japan, Singapore, Australia, Italy and the USA.
Patrick Will Baker
Born and raised in the quiet landscapes of Suffolk I went on to study Graphic Design and Illustration, specialising in editorial design. I have long found comfort and meaning in the creative process. Recently I have returned to my artistic roots as a form of therapy, and particularly enjoy exploring connections, be that the relationships we build and develop with our peers, or with nature and our environment.
This artwork reflects my personal journey to discover my sexuality and embrace my authentic self. The title “Pansy” alludes to a derogatory term commonly used to target the queer community during my youth. Many of my happier childhood memories come from family visits to the
beach. Happy as those days were I was aware I was different to my peers and now, as I look back at those childhood photos, I see a repressed youth. These artworks are about reclaiming my past, asserting my identity as a gay individual and standing proud as a ‘pansy boy’. I have explored two techniques. Digitised photographs for a nostalgic and authentic feel, and chalk and charcoal drawings, with an added pressed flower. In the latter I have used the contrast of black and white with the bright colours of the pansy to represent the difference between my earlier repressed youth and, as I am now, an open and authentic individual. Proud of myself and my wider Queer community.
This artwork reflects my personal journey to discover my sexuality and embrace my authentic self. The title “Pansy” alludes to a derogatory term commonly used to target the queer community during my youth. Many of my happier childhood memories come from family visits to the
beach. Happy as those days were I was aware I was different to my peers and now, as I look back at those childhood photos, I see a repressed youth. These artworks are about reclaiming my past, asserting my identity as a gay individual and standing proud as a ‘pansy boy’. I have explored two techniques. Digitised photographs for a nostalgic and authentic feel, and chalk and charcoal drawings, with an added pressed flower. In the latter I have used the contrast of black and white with the bright colours of the pansy to represent the difference between my earlier repressed youth and, as I am now, an open and authentic individual. Proud of myself and my wider Queer community.
Roberto Funai
Roberto Funai is an Italian artist based in Tuscany. After coming out as gay man, the representation of the queer community began to enter his works as a recurring motif, with its manifestation appearing both physically and politically, in the representation of queer relationships.
“Loneliness”
Acrylic on canvas, 30x40 cm, 2024
Price o the original work 180£ plus 50£ for shipping out of Europe.
For a period of my life, the rush to casual encounter represented a form of addiction, an escape into the flesh of others that generated performance anxiety and fear of rejection, transforming the beauty and joy of the encounter with the other into a source of bitterness and abandonment.
“Loneliness”
Acrylic on canvas, 30x40 cm, 2024
Price o the original work 180£ plus 50£ for shipping out of Europe.
For a period of my life, the rush to casual encounter represented a form of addiction, an escape into the flesh of others that generated performance anxiety and fear of rejection, transforming the beauty and joy of the encounter with the other into a source of bitterness and abandonment.
Ludo Foster
A series of snaps before, during and after swimming in Brighton sea, all year around.
Ludo is an Angelic Troublemaker, academic, vegan, artist, Bob Dylan, South Walian, swimmer, extremely Siamese cat friendly! Autist Born under Punches.
Ludo is an Angelic Troublemaker, academic, vegan, artist, Bob Dylan, South Walian, swimmer, extremely Siamese cat friendly! Autist Born under Punches.
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