Hush is the moniker of UK-based artist known worldwide for his beautifully constructed abstract Geisha images that are a juxtaposition of both traditional graffiti and abstract expressionism. Heavily inspired by the aesthetic of street art and armed with an in-depth technique that includes painting, screen printing, spray-painting and collage, he has continued to create new works that instantly draw the eye in and holds the viewer’s focus. —James Pawlish / The Citrus Report


JP: Who is HUSH? Tells us a little bit about yourself. How long have you been making art, did you have any sort of formal training?

Hush: I’ve been making art all my life, from first experiences in graffiti to graphic design. I always made my own art and have been painting seriously for the last fifteen years. I studied illustration & graphic design at art school for five years.

I read an interview where you used the phrases “action painting” and “pure expressionism” to describe your practice. Do you find abstract expressionism and graffiti to have similarities in terms of approach and hand style?

I think now that graffiti has had time to be reflected on as an art form, there would be a serious argument for the action of tagging, dubs etc to be taken seriously as a form of abstract expressionism or action painting and can be seen as a contemporary art form. Of course this is down to the viewers discretion, but that is true in how all art is viewed I suppose.

Tell us a bit about your creative process and the method of distressing your canvases.

I play with lots of ideas in the paintings that I make and like to reference a lot of movements, past and present. I have always loved that old graf rule about how a throw can go over a tag, a dub over a throw, a piece over a dub and so on.

I love the transient way in which work on the street evolves and usually looks more at home the longer it settles, gets tagged over, degrades and fades. I try to create all these actions and mistakes in the studio. I always create two of each painting and work on them simultaneously, partly for the fact that I will take more risks on one, so my work progresses; there does come a point where I will only finish one as it becomes obvious which one is working.

I also do this so that when i make a new painting i can go over the discarded painting and leave remains of it visible to the viewer. I kind of take pleasure in knowing that there was a good piece and lots of work underneath a painting. It always feels uncomfortable working on a clean canvas, I like the feel and textures of a worked-on canvas. It gives it some life straight away and the complexity of a piece matters to me, I like the viewer to discover this.

I understand you worked in Japan for quite some time…What was that like, and how did it shape your style?

I worked and lived in South East Asia for a few years; it was an extremely important influence on my life both philosophically and visually. The way the East, especially the youth, adopt western styles and cultural influences but struggle with holding onto traditional values is of interest to me and my work. The place is a melting pot and very inspirational. It has influenced my work greatly and has me thinking about a combination of factors; when you add my interpretation of this, we end up with a very eclectic mix. I try to capture and contradict these cross cultural differences and influences in my work.

Your work seems to be a juxtaposition of everything from pop art and abstraction to anime and comics. Are you tying to break the bridge between “high” and “low” art?

Not so much the anime these days but it is still an influence. However, when I see graffiti, especially tagging, as a form of expressionism or a political action, and when lots of it is seen in one place on the street, it creates a visual image like nothing else I can compare it to. It’s beautiful.

Taking it from the street and applying it to the work you make in the gallery setting is difficult. That’s why I approach it as action painting; it could easily be determined as abstract expressionism also. You need to capture that instantaneous decision to make the mark. That’s why I have canvases continuously around the studio. I throw everything at them, tag them, throws, the lot. It feels like it carries a bit of that excitement. It also places this movement into a category that is continuing to build on past art movements, which every new movement does.

A large portion of your work is centered on the female form. Is there any specific reason why?

I like to keep the eyes dark so the viewer can’t connect with the personality, the figures then become somewhat serene or mysterious. The figures are important in finishing the composition of the piece as before they are formed it’s purely abstraction.

When I make my art I try to translate my interest in tagging, graff, decay and street art aesthetics into my work and juxtapose it with images of beauty, sensuality and the female form; allowing the later to be seen in a more positive way. The act of a tag is no doubt beautiful in its own right but fusing the two together in an expressionist action creates something in its own right and puts questions out there.

What artists have been a big influence on you?

There’s a lot of talent out there but my real influences are Eduardo Paolozzi, Mimmo Rotella, Matthew Ritche, Takashi Murakami, Designers Republic, Inka Essenhigh, Simon Bisley, Roy Lichenstien, Banksy, Peter Blake, Vaughan Oliver, Ian Swift and Robert Rauschenberg, to name a few. James Jean, David Choe, Connor Harrington, and Brad Downey have all been creating fantastic work lately.

I’m influenced by every person in the scene. Probably every artist, past and future! Definitely music has an influence on my work, coming from that whole dance music, electro, hip hop scene, it just makes the work more relevant and seems to make sense in the way that it compliments the work – even in the way that it doesn’t take itself too seriously as well.

You’re not a stranger to San Francisco, having had a sold out show in 2010 at Shooting Gallery. What is it you love about the city? Do you find yourself getting inspiration from the local arts scene?

I’ve shown a few times here now with Fifty24SF Gallery, Shooting Gallery, White Walls & 941 Geary. I love the place, the people, the liberal attitudes, everybody seems to have a creative awareness here, it’s a very inspiring place. I have had the pleasure of meeting and hooking up with a lot of artists living and working in SF from Apex, Neon & Vulcan to Eine, Blek le Rat & Roa to Aaron Nagel, Casey Gray & Brett Armory…. from that list you can imagine how inspiring it can be.