Hush is stimulated, influenced and driven by his cross cultural experiences. Having originally trained as a graphic designer and illustrator at Newcastle School of Art and Design, his work has taken him across Asia and Europe, whilst simultaneously developing his prominence as a contemporary artist. Hush now resides in the UK painting in his studio daily. Hush’s work has been described as a sensory assault of shape, color, and character. Inspired by the portrayal of the female form in art, the artist builds up and tears down layers of paint and images as he works, “letting the canvas and marks take their own path.” The result is an enigmatic synthesis of anime, pop-infused imagery and graffiti that exposes the conflict between power and decay, innocence and sexuality, and the fusion of Eastern and Western culture. We sat down with Hush to discuss his most recent show.

Tell us about how you got drawn into the artistic creative world, and what it was that attracted you?

Drawing as a kid… at school because i was knowing as being able to draw i would create characters for some of the graf crews around at the time, this was late 80’s and probably my first real introduction to the scene and tagging. Art had always been an interest which took its natural course and a 5 year stretch at art school followed. Graduating in graphic design and illustration led me to designing flyers etc for DJ mates early 90s. As i came out of the rave haze i moved to Asia to work as a designer/illustrator in Hong Kong and Asia for a good few years while working on my art in the underground scenes. The history of living through those times are relevant to my work and have inspired the art i make today.

What’s the favorite medium you’ve worked in?

I enjoy working in all mediums and thrive on mixing them up to achieve a certain complexity to my finished pieces. What is important is the street as my studio work is influenced heavily by seeing the different textures and works in their chosen context. My work references the aging process and distress that naturally happens to pieces put up in the street.

What projects do you have going on at the moment?

Well i have my solo show coming up in London with Urban Angel which opens on Thursday 12th November in London. I’m showing a few pieces at Miami Basel in December. Next year i have a show in San Francisco with White Walls / Shooting Gallery in May and then with Anonymous Contemporary Art Gallery in New York in October.

I also have a few exciting projects i’m working on with other artists and i might be releasing a vinyl character later next year.

Can you talk a bit about the show…

The manga style girls feature heavily in this show as I’m portraying the cute innocent looking females as being sexual but innocent. Really it’s a comment on the hentai/manga/pornography scence and how its sold as cute but has darker undertones. The titles of the work in English lead the viewer to believe the message in the image but the Japanese typography within the works tell a completely different story to the viewer once traslated. I like the juxtaposition of this and the idea of the works and message being ‘lost in translation’ to the non Japanese speaking audience.

Your work contains many references to Japanese pop culture. Why?

Everyone always presumes im into that whole scene, I like the style and all the pop imagery around that, but I suppose I was first introduced to the style from ‘the designers republic’ who where a few guys who did the ‘red hot chilli peppers albums back in the 90s’. My time working and traveling round asia also made a huge impression on me and influnced my work a lot. The idea behind using the manga style girls was always and still is just a contemporary use of showing the female form, as a reference to the use of the female form throughout art history.

You often juxtapose this imagery with elements of graffiti and sculpture. What makes you bring them together in your work?

All of them are as important as each other and contain their own beauty when viewed. (I get the same buzz when looking at a door full of tags as I do when viewing say the ‘three graces’. The statues are mixed up in my work with the manga as a pointer towards progess while still retaining some of their original message. The tags and graf are included to place the work in time and also to show how beautiful the action of tagging is.

Your work has evolved rapidly over the past few years. How does your new work differ from what you have done in the past?

I believe progress is important and always push myself to move forward. This body of work has turned out much more graphic and relies much more on the image rather than technique. The ‘Sweet modern girl series’ in the show, I decided to make a lot more painterly and look forward to showing them, they’re a lot freer and I suppose different to what people expect from me.

How do gallery shows differ from other pieces you produce?

The constraints of working within a canvas differ slightly but because im referencing the actions, textures and distress from the streets i tend to keep the work looking similar to my street pieces just more complex. I obviously spend alot more time on my gallery works and the attention to detail is much more evident. I always think a gallery show should stretch further than paintings hung on walls though as its an experience i want to convey to the viewer, so by installing large scale pieces on the walls in the gallery helps to educate the viewer to your influences and techniques.

Have you ever had any run-ins with the law regarding your street art pieces?

Yes, if you get caught, usually if your polite and come up with one of many back pocket excuses you get away with it. I suppose my works different as its paste up on the street for the majority of the time and isn’t classed as criminal damage

Where do you find inspiration?

EVERYWHERE

Hand died denim from Japan is always a good sign. Here’s an exclusive first look as Context drops another collabo today, this time with Kicking Mule Workshop for an ultra limited-edition pair of denims. A small production of only 50 pairs worldwide, the shuttle-loomed denim leaves a clean white selvage line—but the dying process is what really sets them apart.

CH gives us the down low on the process here. To make the dye, harvests of the indigo leaves from the Okayama Prefecture in Japan happen only twice yearly. Referred to as the AWA method, the leaves ferment for the dipping stage, which takes place in Kojima City, Okayama Prefecture by hand over several weeks.

The upshot is an organic indigo color that lends the Context x Kicking Mule Workshop 1980 Hand Dye Jean a distinct look, deeply rooted in the region’s history. Each pair comes with an informational pocket insert detailing the technique (also printed by the dye company) and they’re numbered on the inside pocket, as well as on the Context muslin carrying sack.

I went back to Namba and Shinsaibashi and had another evening shooting, and got some of what I think are my best shots yet. These are some of the classic ‘OSAKA’ landmarks, and they are looking HOT. Take a look and holler at me.

The bad ass traditional japanese puppet theatre show thingy.

The big famous crab on Shinsaibashi-suji…..an amazing restaurant with complimentary giant mechanical crab. Does it get better?

And this bad boy is ‘Glica Man’ a huge light up sign, but in japan his name is ‘Gu-ri-co Man’ as they don’t sound out the sound for ‘Gl’.

So after 9 months of growing my hair from the shaved state that it found itself in in August/September last year, I went to the hairdressers yesterday. Now I was thinking about, and have been telling people that the wafro / white mans flat top was really gonna be a reality. So after some time clambering over the language barrier, and having some general hairdresser-banter we got down to the perm. See below.

Turns out i didn’t get an afro perm…..just…..a mild perm. Which i love, but isn’t an afro. So the afro is nowhere to be seen, and all my chat now sounds like hot air. I have a few more months to wait before the afro’s even going to be able to be considered. My apologies to my millions of fans who have seen this saga unfold for the last 9 months. Keep me in your thoughts and prayers. Satoru-san thankyou very much for the haircut, you and your boys did an amazing job…the shave was magic too.

Shinsaibashi Suji

Silver balls, wierd little machines, and lots of bright lights….it can only be one thing. PACHINKO! The bain of every japanese gamblers life.

Millions of bikes, and Osaka Hall…

Namba Hips, new building that’s pretty HUGE.

Namba 1010 and the theatre that shows some sort of traditional japanese puppet show that they love a lot.

Babies born, people getting older…good times.

Supreme are one of the few brands on the market at the moment that take inspiration from their roots in regards to music. Surpeme looked to Bad Brains for inspiration on previous projects, Miles Davis, and now, Malcom Mclaren. Those unfamiliar with Malcom must know that he had a huge part in the success of the New York Dolls, as well as the Sex Pistols back in the 70’s. Supreme are set to release a small collection which includes all-original artwork from Malcom on items including t-shirts, hoodies, and even a New Era cap. Some of the artwork done-up by Mclaren is very similar to Keith Haring artwork. The small collection was released on the 23rd here in Japan, and as if this weren’t enough, Vans will also be taking part in the release of the V-79 model.

I was lucky enough to get to see the collection while in Minami Horie last week, and although I think the New Era’s could have been a little more adventurous, the tees and the hoods are top quality and worth the price tag in my opinion.

The stars of the show Ken and Hirokazu…the men that make up the 3 man CRAZY OSHO PARTY team that sample some of the best chinese food in Osaka every saturday night.

I forgot to shoot when the food came…so we’ve only got some ‘feeling very full’ shots.

Ramen Set. Yes please.

OSHO master.