As well as a collection of his own intelligent and thought provoking work, Rick has collaborated with numerous high profile artists and musicians including Brian Eno, Karl Hyde (Underworld) and Jon Hopkins. We were delighted to have the opportunity to work with Rick for a second time. It’s a challenge we were keen to dive into and were delighted to welcome back Rick to the BML studio in March, to get his feedback on our creations. Here’s what we came up with (all artwork now available to buy online from the BML Charity Print Shop)…
THE CODE MAKER
This work takes inspiration from an idea within the poem, ‘MANIFESTO IN CAPITAL LETTERS or WHO IS THE CODE MAKER’. The poem itself literally breaks down from flowing, stream-of-consciousness imagery into code (a series of spaces, 0s and 1s). The code was extracted from the poem and rebuilt as a series of coloured dots. Making reference to the line from the poem, ‘STILL THE GAPS ARE SOOTHERS’ – All the 0s and 1s were deleted, leaving only the dots which represent the spaces in between the code. From this series of dots – patterns were drawn by joining up the dots and creating new forms. These experiments resulted in a series of constellations being formed out of the breaking down of the original imagery.
Finding Stones – ‘Ice Cream Sea’
A graphic illustration inspired by the line ‘Taste the ice-cream sea’ from Rick Holland’s poem: ‘Finding Stones’. A dreamy and nostalgic scene is created as a dropped ice-cream becomes a seaside landscape. Swirls of melted ice-cream form the sea, while hundreds and thousands lay scattered on the beach. Bright and misaligned layers of colour stir the senses, evoking childhood memories of holidays to the coast.
This graphic illustration is inspired by the poem ‘B1sh0psg8′ by Rick Holland. The poem paints a beautiful and moving picture of a man’s experience going to weekly counselling sessions in Bishopsgate, central London. This image captures lines from the poem such as ‘lair of lanes’, ‘humans with their lizard spines’, ‘the 344′, ‘Spitalfields dear spire’, ‘slab seat’, ‘the clean light of day’ and other direct references to create an imagined representation of a busy street scene. The high angle and isometric perspective create an interesting viewpoint – one where the viewer is allowed to peer down on the seated subject as he contemplates ways to articulate his emotions.