Lucky Star – Blue – Pure Evil

Description

Lucky Star – Blue – Pure Evil

3 colour screenprint

Edition of 100

330gsm Fedrigoni paper

70 x 85cm

Born in British Jamaica, Grace Jones and her family moved to Syracuse, New York, when she was 13. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Beginning in 1977, Jones embarked on a music career, securing a record deal with Island Records and initially becoming a star of New York City’s Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985). She scored Top 40 entries on the UK Singles Chart with “Pull Up to the Bumper”, “I’ve Seen That Face Before”, “Private Life”, and “Slave to the Rhythm”. In 1982, she released the music video collection A One Man Show, directed by Goude.

Charles Uzzell-Edwards is a graffiti and street artist known better known by the cheeky moniker ‘Pure Evil’. His tag of a vampire bunny rabbit was bore from the artists feeling of remorse after shoot a rabbit in the countryside as a youth.

Charley explains, “I’ve always regretted this terrible deed and the idea is that the rabbit is coming back to haunt me”. He also explains the economy is such a beautifully symbol, “The great thing is, you can do it in about five seconds. If you are running through the streets of Moscow at night you can just do a quick bunny on the side of a hoarding and run away”.

He is also the son of the late Welsh painter John Uzzell Edwards. “Having Pure Evil as a nickname is a bit of a joke,” Charley confesses,”but it’s a license to have fun with dark imagery. It reflects the darkness that’s in the world right now. You can’t just ignore it and do a nice picture of a unicorn. Unless it’s a unicorn with a rocket launcher on its head.”