By Dean Stockton
D*Face has been a number one determine in city artwork for good over a decade. a modern of Banksy, he's on the vanguard of the city artwork flow, and has had a relentless presence all through its meteoric upward thrust into well known culture.This long-awaited monograph indicates the advance of his profession as an artist up to now, encompassing his carrying on with highway paintings, and the trail that led him from the early beginnings of the road paintings style to a number of sell-out solo exhibitions all over the world. Containing formerly unseen photos of his operating methods and studio, in addition to firsthand anecdotes, and the tales in the back of his outstanding paintings, the e-book offers an insider's view of 1 of Britain’s most vital city artists. "D*Face is one among Britain's major ‘newbrow’ artists, and rattling if he isn't as sharp and smart - if now not relatively as surreptitious - as Banksy (and sharper and cleverer by means of part than Damien Hirst)." - Peter Frank, l. a. artwork Critic, 2011 Solo Exhibitions include:Going Nowhere quick. Corey Helford Gallery. L.A. April ninth, 2011 your entire desires Belong to Us'. Jonathan Levine Gallery. NYC. September twelfth, 2009 D*Arm/RockFace. 24SF/Upper Playground. San Francisco. united states. may well, 2008
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Additional info for Art of D*Face : One Man and His Dog
There have been a few occasions on which I’ve come close to injury, arrest or death while putting my work up in the public domain. This spot (see photo above), hit in the dead of a freezing Amsterdam winter, may not look like the most high risk, but it could only be reached using the bars of the secured staircase to climb out and back round into the stairwell, allowing access to the top of the building. The bars encasing the lower stairs led out over a 15-foot drop into a freezing canal – fine going up, but the journey down, with shoes covered in paste and frozen fingers, was a different story.
This seemed the most logical explanation to me, and it was the reason I wanted to be a pro skater – that way I could create my own board graphics. Realizing that I didn’t have to be a pro skater in order to create graphics for skate companies was a defining moment; just as well, really, because girls and motorbikes had stolen my focus from skateboarding and my dreams of being the next Mark Gonzales. It was another wake up call that my continued stoner approach had to stop: this truly was my last chance and I had to pull myself together.
There was a place available on an animation and illustration course at my local college, so I arranged an interview, packed up my folio and rode there on my bike. I was interviewed by a Captain Birdseye lookalike who loved to talk, and I enthusiastically showed him my portfolio while he told me what I was trying to ‘achieve’ with each piece, which made my interview all the easier – in fact, I barely said a word, but he seemed to understand my muddled portfolio of scribbles and photos and thought I was perfect for the course.