Title: Day Off at the Festival
Size: 59.4cm x 42cm
Medium: Photography & Mixed Collage on Board

Additional Information
"Some years ago, when still performing regularly at the Edinburgh Fringe, I was looking for an excuse to be up early in the morning which would preclude hanging about all night drinking and cavorting. The answer was inspired by an incident at the Tate Modern, when a member of staff quite rudely screamed “NO PHOTOGRAPHY!” as I was snapping a Roy Lichenstein. My response to this, was to get the iPad out and stand directly in front of the piece for an hour painstakingly making a digital drawing. This wound the bloke up no end, and I really enjoyed myself. Spending time with paintings and making observational sketches gives you a keener sense of what was involved in their creation. Thus ‘Sketch Comic’ was born. A two-hour drawing session in front of a different piece each day, where people could come and join me.  The event took place at the Fringe for three years and attracted large crowds of both onlookers and participants. I have subsequently spent countless hours at the National Gallery of Scotland at all four locations, including an unhealthy amount of time parked in front of Lady Agnew of Lochnaw by John Singer Sargent. This time being immersed in inspirational work contributed in no small part to my deciding to study at Duncan of Jordanstone in Dundee where I am currently undertaking a degree in fine art."


About the Artist

Phill Jupitus is 60 years old has been an entertainer and broadcaster since 1990. He has done performance work with The National Gallery of Scotland in Edinburgh, The National Gallery of Victoria in Melbourne, Tate Modern, Cupar art week and Pittenweem Festival.  He lives in Fife and is currently studying fine art at Duncan of Jordanstone College of Art.


The best thing about collage is the speed at which you can work with colour, form and narrative. I really love the work of Linder Sterling, Kurt Schwitters, Hannah Hoch and Peter Blake. What’s great about Blake is the deeper eye he has for connection and context. There’s a vivid flighty playfulness working alongside really concrete intention. I personally enjoy using vintage images, as 20th century mechanical reproduction contains some amazingly oversaturated colours. It’s great how you can see the direct line between Eduardo Paolozzi’s early collage and later print work. Unexpected stories emerge as you construct a collage. It’s a compelling medium.