• 11

    ‘Here we are I’ (detail), hand-cut screen-prints onto cartridge paper, photo © Philip Sayer

  • 9

    ‘All moments’ (detail), hand-cut screen-prints onto cartridge paper.

  • 10

    ‘Here we are II’ (detail), hand-cut screen-prints onto cartridge paper, photo © Philip Sayer

  • 6

    ‘All moments’ (detail), hand-cut screen-prints onto cartridge paper.

  • 2

    ‘The creatures were friendly’ (detail), hand-cut screen-prints onto cartridge paper.

  • 3

    ‘The creatures were friendly’ (detail), hand-cut screen-prints onto cartridge paper.

  • 4

    ‘They couldn’t imagine’ (detail), hand-cut screen-prints onto cartridge paper.

  • 5

    ‘There is no beginning’ (detail), hand-cut screen-prints onto cartridge paper, photo © Philip Sayer

  • 7

    ‘There is no beginning’ (detail), hand-cut screen-prints onto cartridge paper.

  • 8

    ‘Why anything?’ (detail), hand-cut screen-prints onto cartridge paper, photo © Philip Sayer

  • 1

    ‘Atlas’ (2009-10), hand-cut atlas, image © Philip Sayer

Graphic Design

Alida Rosie Sayer

Posted by Bryony Quinn,

Alida Rosie Sayer graduated from Glasgow School of Art in 2009 with a D&AD Best New Blood award to her name and, in the following year, a solo exhibition of her work. There’s a pleasing broadness to what she does, each design discipline often overlapping and finding form in each other, like Slaughterhouse Five, a series of static animations of sculptural type. “I think it’s about testing how many different directions I can push my ideas in – trying to find out what they, and I, might be capable of.”

Tell us about the Slaughterhouse Five/There is no why series, the process and techniques and motivations behind their forms. Did you make them to be animated?

This was a series of three-dimensional typographic pieces exploring the theme of visualising time and how it is ‘arranged’ in our minds. It was inspired by concepts from Kurt Vonnegut’s cult novel, from which I took all of the quotes. There are no digital elements to these works at all, they were all made using traditional printing processes such as letterpress and screen-printing and I cut every piece by hand with a scalpel.

I was inspired by the process of making stop frame animations and in particular the technique of ‘onion-skinning’, when several frames are layered up and made semi-translucent in order to see how they relate to each other. I thought it could be interesting to imagine individual moments in time this way – as layered frames from an animation, arranged sequentially but in such a way that they are all partially visible at once. By translating these ‘moments’ into carved 3-D planes I wanted to create something more like a stilled animation that could be observed from many angles, removed from the ‘flow’ of normal experience. Ideally I’d like them to be huge, big enough to walk inside and become completely immersed in.

Can you tell us a little about what you’ve been up to since graduating?

Extending the Slaughterhouse Five series last year for my first solo show There is no why at Marsden Woo Project Space has been the most extensive and in-depth body of work so far. Other projects and commissions have included music artwork, illustration, fashion branding, animated titles for a short film, guest speaking at an architectural practice, assisting with television set-design and three-dimensional window installation. A real mixed bag, but that’s how I prefer it.

I’ve also been working at Marsden Woo Gallery in Clerkenwell since I moved to London in 2009, which gives me a fascinating insight into a completely different sphere of the creative world. I’m gathering all sorts of new skills and knowledge that I could never have anticipated and I can feel it all feeding into what I do.

Meeting with numerous designers, artists, writers, agents and curators since graduating has been very important in my quest to understand where my work and I might fit into the creative industry. Quite where that actually is, I’m still not sure, but I’m coming to the conclusion that perhaps I don’t need to know just yet!

How has your work developed since graduating and has this been affected by where you do your work nowadays?

All of the new work for my solo show was made in a little box room in my flat including 400 screen prints, which I had to do in batches of 50, rinsing the screen out using my shower in between!

My ideas have not gotten smaller, but for the moment the practical means to execute them is more limited. That said, being resourceful is probably one of the most important things to get to grips with in this line of work. Gauging the equilibrium between executing projects within your means but without compromising the quality of the ideas is vital. Most of my work is constructed using paper because it’s what I can afford. It’s easy to get hold of and I understand it, but I don’t see it as an integral part of my overall creative vision. Hopefully I will be able to experiment with different materials and scales in the near future.

As I work freelance alongside other work, I also have to be extremely organised. Deciding where it’s most important to focus my time and energy is a constant balancing act. It means I always look very closely at whether I think ideas are worth following through immediately or saving for later on.

Portrait9

Posted by Bryony Quinn

Bryony was It’s Nice That’s first ever intern and worked her way up to assistant online editor before moving on to pursue other interests in the summer of 2012.

Most Recent: Art View Archive

  1. Samchirnside-int-list

    I don’t know what it is about seeing colours up close that’s so mesmerising, but Sam Chirnside is all over it. The Melbourne and New York-based artist works predominantly with oil paints to create strangely beautiful distortions, which work best when overlaid with a band logo to create album artwork, or cut out in geometric shapes. His works resemble planetary compositions straight out of a senior school physics textbook or a happy spillage in an art classroom, and we can’t get enough of them.

  2. Jacksmith-npg-int-list

    For the first time ever a show at the National Portrait Gallery in London contains no human faces. Jack Smith: Abstract Portraits which opened late last week is the first exhibition in the gallery’s 159-year history that includes no figurative portraits as Smith’s work is made up of abstract shapes and colours. Of course there’s nothing new about the idea of a portrait being something other than a traditional head and shoulders painting, but it is noteworthy that one of London’s leading galleries should take such a decisive step.

  3. Benjamin-dittrich-int-list

    German graphic artist Benjamin Dittrich is principally concerned with scale at both a micro and macro level. He preoccupies himself with subjects as large as the cosmos and as minute as molecular structures, zooming in and out in his textural works to reveal vast and complex systems. His retro-futuristic work is breathtakingly complex, utilising painted and printed layers to launch you though time and space. He’s got a new show opening at Spinnerei Archiv Massiv tonight in Leipzig, which if you’re based nearby we’d urge you to get down to. Utterly beautiful stuff!

  4. Chyrumlambert-port-2-int_copy

    Los Angeles-based artist Chyrum Lambert uses formal constraints like grid systems and scalpel blades to contain and compose his paintings made up of cut-and-paste figures, patterns and abstract narratives.

  5. Blamey-ct-6-int

    David Blamey, the artist who founded publisher Open Editions, has authored the first release from Continuous Tone, a series of sound works that treat the medium as a viable space for the production of art.

  6. Nathalie-due-pasquier-int-list-3

    Nathalie Du Pasquier is a figure who seems to leave a trail of intrigue behind her everywhere she goes. This is largely because, as a founding member of the Memphis group (an Italian design and architecture group founded in Milan in 1981) she’s been an unstoppable force in shaping the design world as we know it, colours, angles, ideas and all. But it’s also partly because her work is just so much fun.

  7. Escape-to-destiny-1mehdi-ghadyanloo-int-list

    Merging the style of the early 20th Century surrealists with contemporary street art, Tehran-based artist Mehdi Ghadyanloo’s work is strange and beguiling. He’s currently in London, busying himself with the mammoth task of creating murals all around the capital, including one measuring a whopping 3.4km. As if that wasn’t enough, he’s also showing at the Howard Griffin Gallery in London, in an exhibition entitled Perception.

  8. List

    Highbrow folk like us often find the traditional emoticon can struggle to express how we really feel. We don’t ALWAYS want to convey that we’re blindly happy, crying with laughter or horizontally-lipped and nonplussed. Sometimes, we need something a little more creative. Thank the lord, then, that Hyo Hong has come up with just the solution, in the form of the multifaceted (in its truest sense) Cindy Sherman-icon.

  9. Art-belikov-int-list

    I can’t tell you a whole lot about Lithuanian artist Art Belikov other than he’s 24 years old and, er, Lithuanian. And that all his images are fantastical digital creations. But in spite of the lack of background information currently available to me I’d just like to say that his work is extraordinary. He’s a maker of 3D rendered images depicting scenes borrowed from late 90s sci-fi; all “vintage” cell phones and games consoles, cans of mysterious energy drinks and designer bottled water. There’s a 666 in his URL too so you can be sure he’s a cool guy! When we finally track the man down we’ll ask him some questions about what it all means, but for now just drink in the eerie beauty of his digital creations.

  10. Jessica-brilli-int-17

    If when you close your eyes at night you dream of tying a silk kerchief over your carefully curled ’do and hopping in a classic Chevy to sail down the West Coast, you might find yourself as enamoured as I do with the work of painter Jessica Brilli. She favours endless-seeming roads and vintage cars for her expressive oil paintings, and she’s got recreating them on canvas down to a fine art. Her landscapes are dream-like in their expansiveness and colour palette, while her portraits seems to hark back to an era when a Chevy was still commonplace and kerchiefs were still pretty cool. And a little picturesque fantasy never hurt anybody, eh?

  11. London-is-changing-intlist

    Public art project London is Changing makes Londoners uncomfortably aware of the truths we’re perhaps trying to ignore: that our city is morphing beyond recognition, that creativity is at risk, and that for many people, it’s simply becoming unaffordable.

  12. Bensanders-potdealer-3-int_copy

    While keeping himself busy with postmodern Howard Hodgkin-esque painting and collage work, Ben Sanders is somehow finding the time to paint funny faces on ceramics. Cutting through the “worthy lifestyle” pottery trend with googly eyes, zigzag nostrils and creepy grins, Ben has stamped his sense of humour and aesthetic all over these thriving succulents’ homes.

  13. Olafur-eliasson_little-sun-int-1

    A “giddy joy” was described as the feeling evoked by the artwork of Olafur Eliasson when we interviewed him for last year’s Autumn edition of Printed Pages, and with his monumental, often participatory pieces, it’s not hard to see why. From his incredible 2003 Weather Project at Tate Modern to its portable, socially-conscious, tiny counterpart Little Sun(which “produces clean, affordable, and portable solar-powered lamps to areas of the world without reliable access to electricity”), his work is a glorious, utterly original ray of light shining on the sometimes impenetrable art world.