Brad FaineBrad Faine is an internationally recognised artist and printmaker who was, for 40 years the managing director of Coriander Studio, under whose stewardship was one of Europe’s foremost printers and publishers of fine art limited editions. Even though he generates the majority of his images on computer, he considers himself to be working within the tradition of ‘easel painting’, as he enjoys and is committed to the making and manipulation of objects.‘I was one of those sixties art students who became totally committed to conceptual art. Prior to my time at Leicester College of Art, my paintings had been predominantly concerned with images that dealt with the juxtaposition of painterly brushwork with flat hard- edge forms. The use of form, line and colour for their own sake, provided a basis for investigating illusion and reality on two and three dimensional surfaces. However while at Leicester I met Sydney Harry whose amazing work with colour, led me to become interested in all aspects of colour phenomena and to explore ways of integrating them into painting and printmaking, (I continue to exploit his theories to this day, when making prints). Also at Leicester I was fortunate enough to meet Mike Hale, who had been a master printer at Kelpra Studio, and whose expertise in screen printing encouraged me to use the medium to manipulate colours. His commitment to teaching students how make prints properly, provided a catalyst that later enabled me to establish Coriander Studio as a Fine Art screen-print company.
One of the problems I found when working with conceptually based abstract painting, was deciding its subject matter. The miscellaneous groups of ideas such as ‘the elements’, ‘the four seasons’ or the ‘seven deadly sins’ etc have, for a number of years, provided me with a point of departure from which to explore colour and form, divorced from direct figurative elements.
Although I had worked for many years making prints for Henri Chopin, and Tom Phillips (both of whom use text in their work), it was Peter Blake who introduced me to the idea of using the alphabet in my images, which provided me with an important element hitherto lacking, namely a linguistic content. For years I had felt that I wanted to deal with the kind of ideas I encountered while reading Joseph Heller’s Catch 22. The book was written in such a way that I could not help laughing at the awful situations Heller described, while simultaneously feeling guilty at finding them so funny. I now attempt to create images that are at first sight attractive or even ‘pretty’, but on closer inspection contain alliterative texts that contradict, question or are critical of the visual content. For example in the print Monsters of the Universe, the brightly coloured ‘World Series’ poker chips are juxtaposed with an alliterative A to Z of attributes reflecting on the behaviour of bankers, and their self professed epithet that they were (prior to the crash)’The Masters of the Universe’.
Even though I generate the majority of my images on computer, I still consider myself to be working within the tradition of ‘easel painting’, as I enjoy and am committed to the making and manipulation of objects. I also believe that it is important to actually work on the making of images, as the process invariably leads to the discovery of new ideas, and hopefully helps to produce something that is a pleasant surprise and not a slavish facsimile of the point of departure; indeed it is often the case that the residue of an idea leads to other ideas.
My digital prints are all first generation artworks that do not exist in any other form and are not reproductions of drawings or existing paintings. Some images contain figurative or historical elements and could be construed as digital collages, others are purely coloured abstractions that contain since 2004 text or numbers. They have all been created on computer using Adobe Photoshop and Illustrator and printed with archival ink on canvas and subsequently overprinted with screen-print glazes.’
cv / exhibition history / awardsSelected Exhibitions2014 Art London 2014 CCA StandGX Gallery Collectable Prints.Dark Matter Studio. ‘Intimations of Mortality.' A solo exhibition of prints on canvas.45 Park Lane Group Exhibition2013 Art London 2013 – CCA GalleriesBlue Moon Gallery – prints by Brad Faine.The London Print Fair at the Royal Academy of Art (CCA Galleries stand)Collectable prints at the Hicks GalleryThe Royal Academy Summer ExhibitionCCA International (Jersey) Launch, A selection of gallery artists.The Brook Gallery. The Good, the Bad and the Ugly, prints by Brad Faine..GX Gallery and Searcys present an exhibition of Brad Faine prints at the Gherkin.Edge of Arabia Christmas Exhibition.2012 Multiplied with CCA at ChristiesArt London 2012 – CCA GalleriesLondon Original Print Fair – Royal Academy of Art – CCA GalleryRoyal Academy Summer Exhibition.Multiplied with CCA Galleries at ChristiesLiverpool Love mixed show at Museum of LiverpoolBrad Faine at London Sketch Club.Mixed prints at Railings GalleryGenerations a mixed show at Gallery 402Chelsea Futurespace – Prints 'R' Us prints by Brad Faine and Steve Thomas.2011 Christmas with Coriander, Jill George Gallery.Art London 2011 – CCA GalleriesLondon Original Print Fair – Royal Academy of Art – CCA GalleryPop Art a mixed show at Belgravia GalleryRoyal Academy Summer ExhibitionIcons, Perceptions, Metaphors, (Blake, Faine, Neiland) New Walk Museum & Art Gallery LeicesterFrog and Mouse Gallery Leicester with Peter Blake and Brendan Neiland2010 Christmas Delights at Jill George GalleryCoriander incorporated into CCA Galleries.London Original Print Fair – Royal Academy of Art – CCA GalleryUnder the Influence Brad Faine at Chelsea Arts Club2009 Neiland’s Choice at John Bloxham Gallery2008 New Screen Prints at Jill George Gallery2007 Coriander Studio 35 years of print publishing, Jill George Gallery2004 Invited Studio at Sao Paolo Print Biennale2003 Royal Academy Summer Exhibition2002 Royal Academy Summer Exhibition2001 Royal Academy Summer Exhibition1999 Academicians and Arts Club members of RA Schools staff in Dubai1998 Into the Light – 4 studios at the Octagon Gallery Bath1997 The Print Show – Concourse Gallery Barbican1993 Coriander Studio Show – A Print is a Print is a Print at Cork Street Gallery1987 Celebration – Wigan Print Extravaganza1982 Coriander Studio Show – Screen Spectrum at Thumb Gallery1984 Band Aid for Live Aid print exhibition at Royal Academy of Art1978 Coriander Studio Show - Serigraphic Prints at Curwen Gallery1969 3d Chess Set - Invention of Problems at ICA London1968 Interplay - Britain's Entry to the Paris Biennale