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Punk rock icon Sid Vicious died of a drug overdose three months after he possibly stabbed his girlfriend Nancy Spungen to death. For British artist Rich Simmons, this notorious Sex Pistols tale came to mind as England prepared for the biggest royal wedding in modern times. In an instantly famous piece of street art, Simmons portrayed Prince William and Kate Middleton as a modern-day Sid & Nancy, and he quickly gained an international fanbase that includes rock stars, celebrities and even royalty. The London-based artist has a new solo exhibit, Imaginarium, which opens today (May 1, 2019) at the Box Galleries in Chelsea. Simmons chatted with PRØHBTD about the royal family, superhero fetishes, pin-up girls and punk rock. Many of the individuals and characters depicted in your art are familiar to the general public. Are there certain traits or themes that seem to attract you to recreating specific public figures? I like to use characters in my work that people know so there is an instant understanding of the subject matter, but then twisting it and having them in a certain situation allows the viewer to have that shock factor immediately without having to question who they are or what they’re doing there. Everyone knows who Batman and Superman are, but if I painted a couple of random guys kissing, it wouldn’t shock anyone as much as seeing your childhood superheroes kissing. People in the public eye, both real and fictional, have a power to evoke emotion, and the ability to tell a story in my art often relies on engaging with the audience emotionally. I want to cause a reaction, whether it's shock, humor, fear or whatever they want to feel because I believe that good art is the ability to make a person think and feel something emotionally. Sometimes you just have to use someone they already know to pull on the heartstrings a little harder and make the reaction more powerful. You first gained notoriety for portraying the royal couple as Sid and Nancy. Were you looking to depict someone as Sid and Nancy already, or was the idea inspired by seeing William and Kate in action? I knew the royal wedding was coming up and was in the press, and I wanted to do something that was the opposite of what people expected to see them portrayed as in the run up to it. The idea of royalty is a strange concept to me, and if William hadn't been born into it, then no one would really care who he is or what he did. I think that would take a huge amount of restrictions from a person and allow them to explore things they couldn’t do as a member of the royal family. Seeing them as punk rockers a la Sid and Nancy from the Sex Pistols was my way of normalizing them and making people think differently about the wedding and remind them that they are just people like me and you. I thought punk rock, anti-establishment icons like Sid and Nancy would be the perfect juxtaposition from the life of privilege that you could get, and that's where the humor came for me. It was just meant to be a joke for a few people to laugh at, but it went viral, and an art career was born for me. Tell me about the symbolism and reactions to your Batman vs. Superman art. I read that someone actually slashed a mural in protest. The Batman kissing Superman painting Between the Capes had been on my mind for a long time before I ever painted it. It was one of those ideas that I thought might work, but I didn't have the right idea for composition or execution and wasn't ready personally to tackle a piece like that for a while. I needed to develop as an artist and learn more about my execution, technique and how I wanted my work to be presented before I was ready to do the superhero collection. I wanted to make a statement about equality, but at the same time ask questions about heroism and superheroes' private lives, which we don't always see in comic books. Taking the two most iconic alpha male superheroes and presenting them in an embrace not only shocks you into asking questions about gay equality, but also what it takes to be a hero. If you were trapped in a burning building and Batman was coming to save you, would you care what he did in his private life, or would you just want to be saved? Does it make Superman less of a hero if he loves the company of men over women? The answer to those kinds of questions should be simple. An individual's private life shouldn't affect the way they do their job or ability to be a hero. For the most part, the feedback on this idea and series of paintings telling this story was supportive and positive, but as is usually the case, there's always someone who will take offense to it. I would like to see the idea behind the work open more people's eyes and minds to the issues surrounding gay equality and acceptance and make someone see the whole situation from a different perspective. If I can create dialogue and understanding, then I have succeeded as an artist in evoking change in society, even if it's only with one person. Looking at the various iconic characters in the comic book world, which superhero do you imagine would have the kinkiest fetishes, and what would those fetishes be? If you look at superheroes, you see a lot of spandex, leather, rubber and masks so you'd have to imagine anyone with a penchant for going out in a skintight outfit with a mask on could be classed as kinky. I don't know how a lot of these superheroes are able to fight crime in latex-style outfits, if I'm being honest. It must be incredibly sweaty and restrictive and doesn't offer much protection from bad guys. I guess that's why it hasn't caught on with real-life law enforcement, and you never see a policeman in a catsuit. You’ve described your pieces as “street art archeology.” What did you mean by that? I use reclaimed billboards in my work to make each piece unique and create a texture in which to paint on that comes from the street. I'm therefore using pieces of the street to make art which is my roundabout way of transitioning from street art to gallery art. I get ripped-down billboards and take them back to my studio and painstakingly soak them in water and pull the layers apart, revealing hidden colors and textures from advertising that I will paste to a canvas to create my backgrounds for the stencils to go on. This careful repurposing and peeling apart layers to discover hidden beauty is my version of an archeology of the street. What were some of the billboards you actually tore down? The billboard aspect of my work is always an exciting process. The billboards are glued on top of each other so they come 20 layers thick sometimes, and I have to painstakingly peel them apart to find chunks of color that work for my art. The billboards are so huge that I only see tiny parts of them so I never quite know what they come from, but I enjoy that ambiguity and only seeing a couple of letters or a flat piece of weathered color is better for my work as it doesn't distract from the stencils I paint on top. What aesthetic and thematic elements in 1950s pin-up girls appeal to you most? I love the artwork and style from the ’50s. Pin ups were sexy but in a much different way to now. There was more class, more mystery, more of a tease. There was a sensuality to it that I loved and how powerful a flash of stockings could be with a beautiful smile. Materialism seems to be a theme that runs through the artwork. How do you see materialism influencing human behavior? I am more excited in life by experiences, things that inspire me and create memories. I would rather spend my money on going to a nice restaurant or a museum than the latest bag or shoe from a designer brand. Don't get me wrong, I love fashion and think it's an exciting passion to have, but too many people use brand names to show off their wealth or status rather than something that shows some individualism and personality. I want to learn about the person beneath that facade and learn about someone's passions, hopes and ideas and that is often easier when you strip away all the materialistic aspects of a person. It's this idea that has played a part in my work, and using brand names to create a dialogue in the work intrigued me and crept into my art, but I don't judge anyone who has a collection of materialistic things. Everyone's different, and if they get excited by a new pair of heels, then they should be entitled to that enjoyment. Many people define fashion and style by the name of the designer they’re wearing. How would you define it? I think fashion should be a way for people to express their personality, creativity and individualism. If someone has a black leather bag with silver studs on it because they are going for the rocker kind of look, that's awesome, but if they're doing it because it's a particular brand, it loses that sense of personality and becomes a materialistic component to the outfit. I would rather see someone wearing something they love, no matter what the value attached is, because wearing things purely because it's expensive is kind of pointless and a waste. I believe someone could spend £50 on an outfit and be more fashionable than someone who spent £5,000 because they would be doing it for the love of fashion and not for the love of brand names. You previously performed in bands. In what ways did making music and writing songs influence what you would later do as a visual artist? I would describe myself as an artist and a storyteller. The good thing about defining myself is that there are so many mediums and channels to tell stories through and be creative with. Music has a huge impact on my life, and I loved being younger and jumping around on stage with a bass guitar, meeting up with mates and writing songs in their garage. It was a whole range of processes that involved writing, creating, developing and then performing and connecting to an audience. It taught me a lot about being a visual artist because you have a similar set of steps you have to take to create a piece of art. A gallery show is now my stage, and I get to showcase my stories on walls instead of through speakers. I just can't crowd surf at my gallery shows, which is a shame. I see a lot of punk rock themes in the artwork. What about the punk rock ethos and attitude appeals to you as a person and as an artist? I grew up listening to punk rock and loved the attitude and rebellion it represented. There was a desire to think outside the box, to go against the grain and say it's ok to be an outsider, which I connected with. Punk rock was always about doing it to make a statement and have fun, and you didn't have to be the most-talented musician to do it. As long as you had that desire to rebel and go against the grain, you could connect with it, and I loved that. I think the best art, whether visual or performance, is one which connects emotionally with someone and evokes different feelings. You don't have to be the most talented technically, but you have to be able to tell a story and convey a message to be considered as a true artist and role model. I think that mentality comes from a youth of growing up listening to punk rock music and never being the smartest kid or the most talented artist in the class but having a different way of thinking and a passion to convey that differently to others. You have a foundation called Art Is the Cure. In what ways can art be therapeutic to people who might not benefit from traditional talk therapies? A lot of people can't express their thoughts and emotions verbally, and that can lead to frustration and build up to dangerous levels. Everyone needs to release that pressure they feel, and that is when drugs, self-harm and suicide can feel like the only course of action. My idea with Art Is the Cure is that creativity can be an alternative release for that pressure and inspire people to express themselves in other ways. People hear art therapy and think of drawing their feelings in a therapist's office, but it can be done anywhere, any time and in any way they see fit. I have heard from people who have used painting in their bedrooms when they can't sleep and go to a dark place as a way to deal with their demons and finding an escape through the art that they never had before. Art can be anything creative and can help deal with any kind of problem. It is a pressure release valve for someone struggling that can result in poetry, a painting, a song, a new skateboard trick or anything they choose to do instead of scars on their arm or a trip to hospital. Art can be anything, and it can be a cure to anything. I set up the foundation to try and simplify the idea of art therapy and inspire people to give it a go in their own way and in any environment they choose. What do you think the older generation can learn about gay marriage, medical cannabis, street art and other divisive issues from the more-accepting and open-minded younger generation? I am a very logical person, and I use that to make my decisions in life. I use facts and logic to form opinions, and I'm very scientific in that way. Without the idea of religion hindering my thought process, I can see gay marriage as two human beings who want to love each other as a beautiful and positive thing. There is too much hate in the world so why would I object to such a display of love and unity? It makes no sense when people object to their happiness, and the only logical conclusion you can come to is to support gay equality. We live in an age where science has replaced religion as a way to teach people about the world around them and can prove it with experiments and facts. If all of the books in the world disappeared and we lost all science, religions and laws, we would need to learn everything over again and find new ways to teach morality and understand the world. In 1,000 years, all of the science books would be exactly the same as they are now, but religions would be either completely different or obsolete. We can learn about morality in new ways now without stigmas and beliefs set in the past, and humanity would be allowed to think more positively and openly about each other and discuss issues with logic and fact instead of outdated ideals and conflicting opinions. Science and logic are universal, and while different cultures will have different ideas on fashion, art, music and food, logic and science should be the universal language to make global decisions when it comes to laws and morality. David Jenison (david@prohbtd.com) is Editor-in-Chief at PRØHBTD.

I was approached by London Slide in 2018 to bring my art style to their brand new burger restaurant in Bluewaters Island in Dubai. I was excited to take on a project that would push my creativity in new ways and test my abilities to adapt as an artist. We decided on the skullerfly theme as it fit with their partner company The London Project which is connected in the same complex in Dubai who use a butterfly in their branding too. I was tasked with the challenge of designing a range of packaging for everything from bags, burger wrappers, milkshake cups, boxes for fries and more. We picked a bold pop art style colour palette that complimented the style of art with the feel of the restaurant. I got to go to Dubai in March to create a huge 9ft canvas for the interior of the restaurant and was able to take stencils with me and paint it on location. It was my first time in Dubai and I hope it won't be my last. London Slide just won Gold in the food and beverage sector for best visual identity which is very exciting news as the artwork I created for the packaging and canvas I created for the interior played a key role in creating the visual identity for the brand. I want to thank the whole team at London Slide and The London Project for trusting me with this project. I was the first artist to collaborate with them in this way and to launch the restaurant with my artwork adorning the walls and packaging was an amazing experience. I hope my contributions helped secure the award and attract people in to try the amazing food and drinks on offer there. I cant wait to see the brand grow into new territories and give more people a chance to experience the food, energy and art.

Rich Simmons is a British self-taught contemporary urban pop artist who rose to fame in 2011 with a piece of street art showing William and Kate before their royal wedding. The piece entitled ‘Future ***King’ depicted the royal couple as Sid & Nancy of the Sex Pistols and became famous around the world in less than a day. Since then, the artist’s popularity hasn’t faded. His noticeable colourful and humorous style, merging and deconstructing comic books imagery and reclaimed billboards, opened him the door to prestigious galleries worldwide. In 2008, Rich also formed ‘Art is the Cure’ to spread the message of creativity as a mean to battle against depression, autism and social anxiety issues. Living it caught up with the artist whose work is exposed at Box Galleries on London’s Kings Road this summer. Which contemporary artists inspire you the most? “I’m definitely inspired by artists like Banksy and Shepard Fairey who really changed the way people view street art, and opened up the public and media to allow artists like myself to get a foot in the door. I’m a big Ron English fan and admire artists who paved the way for pop art to become a movement like Andy Warhol and Keith Haring.” Where can we spot the best urban/contemporary art around the world according to you? “I really believe London is at the forefront of the global art scene. We have some of the most exciting galleries putting on bold shows and giving a platform for some exciting talent to showcase their work. London is also iconic for street art and you can see some of the best graffiti and street art in the world here. I love New York and you can feel the impact of that city on the graffiti and pop art culture but I think London is the hottest spot for art right now.” What is the creative process behind each of your piece? “It is always important to have an open mind and be willing to get inspired by anything at any time. I am always coming up with ideas and once I have a sketch and a design done on Photoshop, it is onto the Lightbox to draw it out, and then I cut the stencils out with a scalpel”. “Once I have the stencil layers all cut, it is onto spray painting them in order. I am always trying to create work that is different and exciting for me as I’m easily bored, and need to mix things up to keep it fresh and fun in the studio. Once the final stencil goes on and everything comes together, I’m always happy and relieved that the layers all matched up and the piece looks the way I imagined it from the start.” Which artists living or dead would you invite to your ideal dinner party? “Leonardo da Vinci is my hero. I love his work, his understanding of science and maths, his ingenuity and his inventive nature. He is the archetypal Renaissance man and I take a lot of inspiration from that so I’d love to pick his brain and see how he thinks and sees the world. I would invite Banksy so I could meet the man behind the mystery and Salvador Dali to spice things up a bit.” Where do you dream to exhibit your work? “A lot of my dreams have come true already. I never expected to be in a position to have solo exhibitions but I’ve had multiple London shows and exhibited in New York alongside Warhol and Haring, Los Angeles, Miami and even Azerbaijan. I’m always trying to raise the bar and would love to do something in Japan in the future but I am already living the dream by just having the chance to exhibit my work in places like Box Galleries in London.”

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鑽石粉塵之間的48“ X 30” 用鑽石粉在畫布上噴塗 帽子紅色之間為48“ X 30” 在畫布上的廣告牌上噴塗料 帽子單調之間為48“ X 30” 在畫布上噴塗 30“ X 30”反射單色 在畫布上噴塗 36“ X 36”反射棒棒糖鑽石粉 用鑽石粉在畫布上噴塗 36英寸X 36英寸反射藍鑽石粉塵 用鑽石粉在畫布上噴塗 30“ X 30”反射棒棒糖鑽石粉 用鑽石粉在畫布上噴塗 30英寸X 30英寸反射藍鑽石粉塵 用鑽石粉在畫布上噴塗 48“ X 36”紐約時報單調 在畫布上噴塗 40英寸X 30英寸紐約時報 在畫布上噴塗 36英寸X 36英寸紐約單調 在畫布上噴塗 30英寸X 30英寸紐約時光粉紅色 在畫布上噴塗 30“ X 30”紐約時報單聲道 在畫布上噴塗 30英寸X 30英寸紐約時光棒棒糖 在畫布上噴塗 30英寸X 30英寸紐約時報藍色 在畫布上噴塗 30英寸X 30英寸紐約時報 在畫布上噴塗 48英寸X 36英寸MONA LISA反射金發 在畫布上噴塗 X 36英寸蒙娜麗莎單反 在畫布上噴塗 36英寸X 36英寸吹我的蝴蝶藍色粉色 在畫布上噴塗 36“ X 36”吹我的蝴蝶獨角獸 在畫布上噴塗 36“ X 36”吹我的蝴蝶銅 在畫布上噴塗 40“ X 30”番茄湯匙金 在畫布上噴塗 40英寸X 30英寸校園番茄湯匙 在畫布上噴塗 40“ X 30”雞腿麵條湯金 在畫布上噴塗 40英寸X 40英寸不合格的骷髏紅色 在畫布上噴塗 POP ROCKS-GROUP SHOW 模仿現代-倫敦 2018年5月18日至6月14日 模仿現代》第一次將倫敦最臭名昭著的視覺偶像破壞者聚集在一起：亨利·海特和里奇·西蒙斯。兩位藝術家因在傳統畫廊空間之外創作的作品而聲名狼藉。恨是著名的紋身藝術家，其客戶包括艾米·懷恩豪斯（Amy Winehouse）（包括標誌性的炙手可熱的女孩紋身），亞歷山大·麥昆（Alexander McQueen）等。西蒙斯（Simmons）最著名的是他在倫敦和紐約的街頭壁畫，例如《未來***王》（Future *** King）（將凱特·米德爾頓和威廉王子描繪成西德和南希）以及《蝙蝠俠之吻》超人。 Pop Rocks於5月18日開幕，匯集了兩位藝術家的新作品和特別委託的作品。 關於里奇·西蒙斯 倫敦出生並育種的屢獲殊榮的自學成才的藝術家里希·西蒙斯（Rich Simmons）於2011年首次以街頭藝術作品“未來之王”吸引了英國藝術界的關注。它描繪了威廉王子和劍橋公爵夫人從《性手槍》中飾演的席德和南希（Sid＆Nancy），這是君主制新興和年輕復興的視覺暗示，並在皇室婚禮前不久取得了進展。從那以後，他積累了名人粉絲群。 在作品獲得高度成功和全球影響力之後，西蒙斯在2011年繼續在“模仿現代”畫廊和國外的多個展覽中展出。他在Bonhams Street Artauction和最近的佳士得慈善拍賣會上成功出售，Simon de Pury在那兒以52,000英鎊的價格拍賣了Rich的一幅畫，所有收益都流向了英國的Gracious Hearts。令人驚訝的是，我們的一位藝術家參與了這一重要事業，為有特殊需要的孩子籌集資金。 拍賣結果將對他的作品產生巨大影響，他的拍賣價有望大幅上漲！可以肯定地說，他今年是值得關注的人……在我們之前的博客文章中，可以 找到有關Rich Simmons及其藝術歷程的更多信息。