Antoni Garcia Serrat

Room103 OrwellResponseProject copyOrwell6“This picture wants to show the feeling of loneliness and the need to action.”                etching and aquatint:  paper size is 31.5 x 38.3 cm. Image size is 16.2 x 19.7 cm.

“Although I read George Orwell the author, sincerely I am not an expert on his work. I remember that the reading of “1984” had a great impact in me. His vision of a  kind of controlled society was premonitory and has had and depressive effect on my vision about the role of the individual on contemporary society.

Recently, the artist Tony Baker let me recover the interest on George Orwell through his exhibition and lecture in the Superior Design and Art School of Vic (Catalonia) last year. As a Catalan citizen I am very thankful to George Orwell for helped on the fight against fascism and for his work “Homage to Catalonia”, especially in these moments in which our rights as a country are threatened.”

_DSC4695_DSC4706Small paintings 21 x 21 cm.


4FQ025FQ01IMG_2478IMG_2520 2IMG_2808 photographs and hand tints:     31’5 x 31’5 cm


My work about entrances and interiors is my personal vision of an architectural fragment which currently we are losing; taking away part of my childhood memories.

Entrances are the frontier between in and out, between private public and public, between present and future. In my personal vision, the entrance is a symbol that makes me think about the meaning of the architecture beyond its shape and function.

I think that nowadays many countries close their doors to save themselves but instead they only make prisoners of their citizens….


Eye See You


blackrock1Black Rock    charcoal on paper


blackrock2Black Rock 2      charcoal on paper


corneyeblackCorn Eye Black     charcoal on paper


Joined+at+the+neck+printJoined at the Neck          digital print

Artist statement:

“The surveillance society was a term first used in 1985, a fact that would have fascinated Orwell. He would no doubt have been truly mortified to find out that Cambridge Analytics were now trading in the results of political manipulation via data mining and psychological profiling, together with fear mongering and the development of sophisticated mass media hosted social control systems. All that he prophesised has come true and perhaps most worrying has been the corrosion of language, so that words no longer mean what they used to mean. Politicians and big business can say one thing and mean another, they look down on those who still believe in some sort of ‘truth’ and as people of power feel it is their right to define what reality is. This dark period of our history will need its images and if they are the right ones perhaps they might help in a late rear-guard action, designed to remind the world of how once cherished ideals are now sold off by the media frenzy of late capitalism. These images are made in response to conversations held with others who are becoming more and more worried by the rise of a society that is shaped by capital and manipulated by media constructed fear.”


As an artist I make allegories. I have stories to tell and sometimes they arrive on their own and sometimes they need shaping and polishing.

The work reflects the fact that drawing is at the centre of my practice. The shadows and traces of hand thinking, a working process, that I believe links all drawing practices back into pre-history.

Recent work includes responses to walks through local communities, the continuing influence of the Western, reflections on domestic habits and loss of memory, both personal and collective and perhaps above all the fact that my dreams inhabit a particular landscape that I used to play in during the 1950s in Dudley which was then in Worcestershire. The caves and rocky outcrops that I remember are now fenced off from the public due to the possible dangers of falling rocks. However in the 1950s health and safety hadn’t been invented, and danger was part of the poetry of growing up.

Mary M. Mazziotti: Needling the Regime


hand-embroidery & pigment on textile
Nicely/32x49Needling the Regime: Nicely/32″ x 49″/hand-embroidery on textile
Poorly/39x28Needling the Regime: Poorly/39″ x 28″/hand-embroidery on textile


Retrib/38x33Needling the Regime: Retribution/38″ x 33″/hand-embroidery on textile
Needling the Regime: Don't WorryNeedling the Regime: Don’t Worry/32″ x 24″/hand-embroidery on textile


Mazz_Four_2017_1Needling the Regime: Two & Two/37″ x 36″/hand-embroidery on textile
Needling the Regime: Speak EnglishNeedling the Regime: Speak English/40″ x 31″/hand-embroidery on textile


Needling the Regime: TortureNeedling the Regime: Torture/33″ x 41″/hand-embroidery on textile


Basking/46x33Needling the Regime: Basking/46″ x 33″/hand-embroidery on textile

Artist statement

“Like so many artists, my work was galvanized by the 2016 “election” in the USA and the inversion of honor, truth and decency in government. Now Lies are Truth and Truth is Fake News.
“Needling the Regime” is my imagining what Official State Sanctioned Art would look like in American Oceania. It primarily combines images from vintage propaganda posters (Soviet, Nazi, Maoist, American) with text from Comrade Trump and his myrmidons, as well as a prescient Orwellian quote. ”
The full series can be seen at

Needling the Regime: NyetNeedling the Regime: Nyet/31″ x 33″/hand-embroidery on textile

Mary M. Mazziotti is an American visual artist whose practice includes hand-embroidery on textiles with a special interest in contemporary memento mori. She exhibited at the O. K. Harris Gallery in NYC until it’s closing in 2014 and is currently represented by Borelli-Edwards Galleries in Pittsburgh.

Ms. Mazziotti has exhibited widely in galleries and museums including The Carnegie Museum of Art, The Andy Warhol Museum, The Mattress Factory, NordArt in Germany and the Emily Harvey Gallery in Venice.

Mary M. Mazziotti

Mazziotti Studio

125 39th St 3-A

Pittsburgh, PA 15201


Paul Steffan Jones

Tom and Jerry’s Political Vacuum

March for the Alternative 2

The old cartoons are the best

the easy delineation of

the good and the bad

those certainties now blurred

who now is good?

who now is bad?

where are the modern day barricades?

what do they look like?

how high are they?

who will stand behind them

and who will they face?

it’s getting harder to tell

friend from foe

truth from fiction

wrong from right

day from night

poison from meat

cat from mouse

him from her

them from us

you from me




Future That Works 9

I see tinned value tomatoes

and back issues of the Big Issue

at the altar crossroads of hope

and limitless opportunity

I’m feeling cauterant

as our earned wealth

is dissipated

by Government policy

modern day slavery

up to the minute piracy

as the last wolf abdicates at

the funeral for funerals

and words such as “only”

“free” and “just”

are forbidden to be featured

in advertising

especially in a land

that’s now fit for billionaires

and their medieval version of justice

Nu sur le Plage: Jura Brian Joyce



Jura Brian

‘Nu sur le Plage’   Jura Brian Joyce    oil on canvas  182x182cm

It has been a few years since I have read the works of George Orwell. I read “Down and Out in Paris and London” just before going to live in France myself, I read “The Road to Wigan Pier” to be astonished at the treatment of mine workers and their families.  The famous book “1984” however goes much further than any other work of the dystopian genre, through the writings of the revolutionary figure Emmanuel Goldstein we get an explanation of the blueprint of the class structure.  The well known work “Animal Farm” gives us a narrative of revolution and tyranny, wherein we are the our own worst enemies.  There is no state solution in Orwell, all power is corrupt.

George Orwell stands tall as the best example of the struggle that will never end, and in my art work I try to define the limits of state and personal freedom, given the material reality in which we live. The painting “Nu sur le Plage” is a large painting of a mature and corpulent woman on the beach, clearly the woman has in her life given birth probably numerous times, this has taken it’s toll upon her body. She stands next to a sand castle, an example of her formidable intelligence and far off in the distance the horizon line at the level of her eyes cuts apart the body from the mind.  The paintings seems to suggest ‘ life ain’t much, but what did we expect and why did we expect it otherwise?’  Thus a critique of capitalism and the commodity fetish that forces us all to demand more, until the earth is barren. Only keen wisdom can save us from ourselves .



“It all started in my childhood, I had a keen artistic talent at the age of two, in early adulthood I began a course in technical illustration, involving a study of the Early Renaissance.  I have developed my artistic practice since then though not without is ups and downs, I have studied photography, psychology and the French language, and now, after twenty years of artistic production, I  have a body of large paintings and drawings; figurative works for the most part.  I really must say I’m not the best artist of my generation -but I am definitely in the top one!  Despite this I have never made a penny, and will have to sell my art for next to nothing to someone overseas and let my talents go to s***t.”

Jura Brian Joyce

Orwell and the Arts – third George Orwell Studies Conference


Orwell and the Arts – third George Orwell Studies Conference Professor Tim Crook, Goldsmiths, University of London

Wed 30 May 2018   10:00 – 16:00 BST

The third academic George Orwell Studies conference hosted by Goldsmiths this year is being held on the theme of Orwell and the Arts. This is a continuing partnership between Media and Communications at Goldsmiths and the Orwell Society. 

The Warden Pat Loughrey has agreed to open the conference and papers are to be presented on diverse and challenging subjects such as Orwell and Literary Art by Professor Len Platt, Orwell and the Art of Radio by Professor Tim Crook, and Orwell and Dramatising Down and Out in Paris and London by Professor Anna Furse.

There will also be a session on Orwell inspiring contemporary art with the artist Glenn Ibbitson.

Other topics hoping to be explored include Orwell and the Art of Donald MacGill and Saucy Seaside Postcards, The Orwell Prize and Design by Goldsmiths Students, and Nineteen Eighty Four and the Art of Book Covers.

The conference will run in LG02, Professor Stuart Hall Building, from 10 a.m. to 4 p.m, with an option to continue until 5 p.m.

Tickets available at:                                               

A Venue for Room 103 @Saul Hay


Saul Hay portraits

Saul Hay Fine Art was born out of the passion of its collector founders, Catherine and Ian Hay. It opened in the historical Castlefield area of Manchester in October 2016.

Working with emerging and established artists, Saul Hay presents a diverse programme of contemporary painting, drawing, sculpture and photography and has quickly established itself as an important player on the Manchester art scene. The gallery sponsored the Emerging Artist Award for last year’s New Light Art Prize.

Catherine Hay, Director of the Saul Hay Gallery: “Like us, New Light is passionate about encouraging and promoting artists in the North of England. As a fairly young gallery ourselves, it felt right to support the prize for those artists just starting out on a professional artistic career.”

Barcode Jan2017Glenn Ibbitson: ‘Barcode: WS1984’    oil on canvas

I met Catherine and Ian at the preview of the New Light Art Prize at Bowes Museum back in October. I had seen them looking at one of my works, and its obscure title allowed me to introduce myself with an explanation. The title; “Barcode:WS1984” referenced George Orwell and his fated protagonist Winston Smith. As with so many conversations over the last couple of years, this one turned from the exhibition on view to the subject of Orwell’s journalism and its influence on contemporary thought and culture. The possibility of collaborating on a themed exhibition was left hanging in the air as we exchanged e-mail addresses and goodbyes.

On February 24th, Ian messaged me inviting me to visit the gallery to discuss a showing of work comprising a selection from ‘Room 103’. “It is Orwell’s 115th birthday on 25 June so I wondered if we could tie it with that.”

It was only as I approached the Saul Hay Gallery  that I realised just how apposite a location this would be for a tribute to Orwell. On one side of the gallery is the terminus basin of the Bridgewater Canal, one of the catalysts of the industrial revolution. On the other, a viaduct which carried the world’s first passenger railway between Manchester and Liverpool; confirming the development of urbanisation. The problems arising from both these related phenomena provided George Orwell with the material for a lifetime of writing and journalism.

Railway Cottage is a handsome Victorian red brick building of the type with which Orwell would have been familiar while filling notebooks with observations around the North of England, though the accumulation of half a century’s industrial grime may have masked their simple elegance from him at the time. [As a child growing up in Leeds through the 1960’s, I thought the city’s town hall had been built from a black stone.] High on the front wall of Railway Cottage is a clock-face. It doesn’t strike thirteen, but I think Orwell might be tickled by the notion that at this venue, the time is always six minutes before six…

The interior is by contrast,  up to the minute. Illuminated by natural light from two sides and diffused overhead units, the large room provides for one long uninterrupted run of wall hanging work, with other walls punctuated by the West-NorthWest facing windows. It is more welcoming than the jaded ‘white box’ model, and allows a potential buyer to visualise the artwork in a domestic setting rather like their own home. The current exhibition reveals an interest in realistic and figurative artwork with an engagingly wide remit. I was particularly taken by their willingness to exhibit paintings on unframed stretchers, which lent the whole space a freshness  and spontaneity usually found only in an artist’s studio. It seemed to me a healthy symptom of a bold personal vision at work.

Ian and Catherine’s engagement in ‘Room 103’ at this relatively early stage of its development has generously provided us with a venue and an approximate date of Autumn later this year, propelling the Orwell project to the next level as a bona fide exhibition. Specific dates will be posted shortly.


Railway Cottage     33a Collier St.    Castlefield,    Manchester M3 4LZ

tel. 0161 222 4800  Website link

Opening Times during exhibitions

Weds – Sat 10.30 to 6.00

Sun             10.30 to 5.00

other times by appointment

closed Sunday 24th December

closed Sunday 31st December