Worthing Tab by Phil Maltz

Worthing Tab by Phil Maltz

Phil Maltz, AKA Maltz Creative, is a London based self-taught artist. Working in mainly pens, pencils and watercolours, Phil makes precisely detailed sketches of urban architecture of which we’re very impressed by his capture of texture. Read what he has to say below..

Beigel Bake Brick Lane by Phil Maltz

Beigel Bake Brick Lane by Phil Maltz

Point101: What drew you to illustration? 

Phil M:  I've always liked sketching since a child, and growing up I had a grandmother who has painted her whole life, so I've been exposed to a lot of paint fumes. But it wasn't until last summer that I really started exploring my artistic abilities, fuelled by starting an artist account on Instagram.

P101: How has social media impacted your creative workflow?

PM: Creating content which predominantly is aimed at an online audience means it forces me to keep the creative flow going. Social media followers are hungry for fresh content, so I use this to push myself to explore and create things that I think my audience will like. It gives me a real motivation to put Netlix on pause and pick up a pen or paint brush.

P101:  Your focus is mainly on homes/buildings, why is that so?

PM: I've always been interested in architecture and how many parts work together to create a unified form. Also, buildings are much easier to draw than people! I enjoy recreating textures, both organic and man made, and working on small detail.

P101:  What is your working technique?

PM:  I try and keep my process as traditional as possible. I stare at screens all day in my job, so I'm keen to escape from the digital world. In terms of my process, I usually spot a building, take a photo for reference, and create a pen sketch followed by watercolour paint.  

P101: How  have you developed and perfected your very meticulous technique?

PM:  Well, I think it's through sheer determination to create work that stands out, which means going the extra mile with the detail, like in my Bow Road sketch. However I do still value artwork created in a looser, simplistic style. But it always very satisfying when I work on some tiny detail for a long period and then step back and see that it was worth the hand spasms!

P101: Where do you see your work belonging? 

PM: Apart from posting work online, and in my parent's house, I don't really spend much time thinking about the wider appeal of my work beyond the Instagram 'likes'. It always blows my mind when someone actually purchases one of my sketches.

Bow Road House by Phil Maltz

Bow Road House by Phil Maltz

P101:  How long does each drawing take?

PM: It ranges from a couple of hours to a few days. I don't usually work on something continuously, as I don't have time with family and worl life. So I make the most of my lunch breaks and weekends.

P101: What giclee paper do you think works best with your prints? 

PM: I love the subtle texture and thickness of Hahnemuehle Photo Rag, it doesn't distract too much from the artwork and gives a physical feel of the original work.

P101: What do you do outside your illustrating? 

PM: I'm currently working as a full time cameraman and video editor in London, as well as a father of two young boys. I also like growing vegetables.

P101: What interests and hobbies which influence or inspire you? 

PM: I work quite close to the Tate Britain in London, which is a free-entry gallery showcasing the best of British art. It was trips her over the summer months that kickstarted my creative journey. In particular the many graphite, as well as watercolour, sketches produced by JWM Turner. More modern influences include the likes of Phil Dean (@shoreditchsketcher) and James Oses (@jamesoses).

See more of Phil’s work here.

AuthorNazy Raouf

A hanging blanket, burnt and torn hangs at the end of the display, which was used as a barricade to project villagers from snipers.

A hanging blanket, burnt and torn hangs at the end of the display, which was used as a barricade to project villagers from snipers.

The Tate Exchange hosts Who Are We? for the third year with spotlight on artist and journalist Zehra Doğan. Alongside her are: Basel Zaraa (musician and street artist) and Tania El Khoury (live artist) with their performance ‘As Far As Isolation Goes’ about the health experience of refugees and song inspired by conversations with others who have recently claimed refuge in the UK; Tim Butcher’s and his Instagram based storytelling project ‘Tales of Precarity' which will run throughout this exchange, where each day an artist responds to the questions ‘How do we create meaningful public dialogue about the preccarities of artists who risk?’ (see more at @whoarewe_tex); and ‘SoundShapes’, an experience piece brought together by The Open University researchers Inma Alvarez, Carlos Montoro and Mara Fuertes-Gutierrez, building upon the AHRC project Language Acts and Worldmaking and ‘A Stitch in Time’, inviting visitors to walk around and experience the sounds and shapes of languages in hope of challenging them to rate languages depending on personal preference and familiarity.

All in all, this space is alive with interaction and exchange, conversation between artists, viewers, organisers and invigilators alike. Talks and reflections take place through the five day display and visitors are encouraged to spend their time absorbing, contemplating and participating as they wish.

Nusaybin 2016 by Zehra Doğan

Nusaybin 2016 by Zehra Doğan

The main attraction has to be Zehra Doğan who was sentenced to two years in prison in Turkey in 2017, aged 27 at the time. Charged with “terrorist propaganda” for a painting she made in which she depicts the invading Turkish army as scorpions in an aftermath of the destruction of Nusaybin, town in southeastern Turkey.

Zehra’s exhibit here ‘Li Dû Man (Left behind)’ exemplifies the aims of this Tate Exchange: “A place for all to play, create, reflect and question what art can mean to our everyday”

The piece comprises of collected objects from the aftermath of war, reiterating her earlier painting for which she was imprisoned, but by taking objects from the debris and bringing them before us here, acting as testimonies to such fatalities in hope of telling “the stories of those who fled, via what they left behind.” 

A blanket, burnt and torn hangs at the end of the display, which was used as a barricade to protect villagers from snipers.

“These suspended barricades were not only curtains. They were also armour.”

Alongside the varied items scattered on the floor, almost as if placed back here exactly as they were found with their creases and folds, is a makeshift panel where viewers can read the stories of those still imprisoned. Friends of Zehra’s while she was imprisoned, here visitors are invited to write them letters that will be mailed by PEN International, the NGO who worked to free Doğan.

Also in conjunction with PEN International is a platform for the public to participate by telling their own stories as refugees which will be collected and edited into online and print publications with Zehra, forging the continuation of this project beyond the exchange and bringing to light to the ongoing conflict that this exchange hopes to address.

A baby’s cardigan and a traditional Kurdish wedding garment

A baby’s cardigan and a traditional Kurdish wedding garment

Traditional carpets and praying mats

Traditional carpets and praying mats

Texts by Zehra

Texts by Zehra

AuthorNazy Raouf

‘Petrified’  printed on Hahnemuhle Photo Rag 308gsm

‘Petrified’ printed on Hahnemuhle Photo Rag 308gsm

Branded as Mamlok, Audrey Manlot is a London based illustrator and art director. With a focus on feminine empowerment and the bond between women and nature, Audrey takes inspiration in an eco-feminist dialogue, resulting “in an aesthetic utopia where Strength and Beauty are embodied into women who thrive in a state of nature.“

Her work will be part of METAMORPHOSIS” running from 1 - 5 May 2019 at Ugly Duck, London. Opening night on Wednesday 1st of May, 6pm (RSVP below).

Point101: Tell us about women empowerment 

Audrey Manlot: The concept of being a Woman has always intrigued me. Since a young age, I’ve been unconsciously fascinated by females who were able to “break the boxes” that confine our gender. Growing up [and] surrounding myself with strong female personalities, I realised my mind was full of imaginary boxes, and my conception of femininity very negative. 

I naturally started to put that on paper as a mean to keep deconstructing those limiting beliefs and explore the positive and liberating wave of feminism that has arisen.

A little part of that work has been about focusing on the place of the Human being in its environment, and his relationship to other species, a question that has also been in my mind for long. Reading about Ecofeminism I found some interesting ideas in line with my instinctive perceptions. I’m still kin to work on Femininity as an ongoing subject, although I’d like to deepen that outside of the prism of Women, as well as a few other themes that I’ve worked on in the past, such as Gender, the Subconscious and a few more. 

P101: Your style is very contemporary and trendy. Is it empowering to you to be part of a contemporary illustrative art scene, a lot of whom are also female? 

AM: It is definitely, the contemporary illustrative art scene has become so boiling and diverse, people see the value to it more than before, which is very motivating, especially seeing so many women in the spotlights. It seems to me that it’s a very inclusive community in term of origins, gender and more, which gives a feeling of being connected to our time.  

‘Organic’  printed on Hahnemuhle Photo Rag 308gsm

‘Organic’ printed on Hahnemuhle Photo Rag 308gsm

P101: How do your illustrations come to be?

AM: I like to keep the human feel to the image because it makes more sense with the subjects I work on and for my personal aesthetic preference. I work with ink on paper for that organic aspect of the lines and then colourise digitally. I started digital drawing last year, which is very different and as interesting, it opens to a lot of exploration, I’m still experimenting in term of style.

P101: Tell us about your technique

AMFor the conceptual part it varies, I collect quotes, ideas, articles on the day to day life and refer to it when comes the time to produce something. Sometimes I just have an epiphany and there’s a whole image that pops into my brain that I need to execute straight away. 

I sometimes sketch a draft on paper for the image construction, or I can also jump on it straight away and improvise. The colouring part is my pet peeve, I got a bit better over time but I always spend ages adjusting the colour palette. 

P101: How does your profession as an art director fit into your passion for illustration?

AMI’ve had a few projects where I’ve been able to combine both disciplines, usually it’s quite compartmented though. I must say I’m trying to stay focused on illustration now and leave graphic design aside. 

I’ve also co-founded an ethical clothing brand called Osun Womenswear, for which I create prints, so that’s my other focus at the moment.

P101: Where do you place your work?

AM: I’ve worked for quite a various range of applications, from magazine to packaging, real estate, websites, logo design, audio tape too! My personal work is for print sales and exhibitions when I get the opportunity. 

I am actually exhibiting this week with Cluster Illustration at the Ugly Duck. The opening is on Wednesday evening, it’s free and everybody is welcome!

P101: Tell us about your collaborations and how these come about for you

AM: It is usually a word of mouth, I’ve mostly been contacted on some previous collaborator’s recommendations, I should definitely make more contacts myself, it’s the part of the business where I still have a lot of learning to do. 

I’ve never been in a situation where I was reluctant to accept a proposition, unless for lack of availability. I would like to diversify my collaborations in order to explore new fields and angles of work, I’m very keen to do some work in the music industry for example, as I find visual arts and music are always very interesting projects.

P101: What giclee paper do you think works best with your prints?

AM: I’ve printed on Hahnemuhle Photo Rag and German Etching for now, I like the texture of the Photo Rag and the contrast it creates with bright colours. I’d like to try other options soon like the Bamboo paper.

P101: What do you do outside illustrating and being an art director?

AM: My other main focus is Osun, a clothing brand I launched recently with a friend, for which I design the prints. It’s made in London and all about Slow Fashion. I also have a part-time job, so I compartment my time between those 3 activities, which can be tricky sometimes but keeps me active and also enables me to step back from my illustrative work and come back to it with a fresh eye.

P101: Tell us about your interests and hobbies which influence or inspire you 

AM: In term of [a] hobby, I’ve recently started Viet Vo Dao (Vietnamese Kung-fu), not that it’s quirky but I’ve never thought I would be practicing a Martial Art, and I find it very interesting and complex. I could think of a project linked to that soon.

Other than that, I get inspiration from people, places, shows, music, films, I feel our brains are sponges that absorb a crazy amount of information every day, and if you put it into the right drawer of your mind, it can turn into something creative (I will make an illustration of that :) )

“METAMORPHOSIS”  MAY 2019. Curated by  Ema E. Marinova

“METAMORPHOSIS” MAY 2019. Curated by Ema E. Marinova

P101: Do you have any upcoming shows or publications?

AM: Yes, I am exhibiting this week (1st to 5th of May) with Cluster Illustration at the Ugly Duck, near Tower Bridge. There will be a lot of other illustrators and there is also a part dedicated to Fashion.

Event RSVP & Info.

Find more on Mamlok here and follow her on Instagram

AuthorNazy Raouf