Edward Bell (artist)

Edward Bell studied art at Brighton College of Art, graphic design at Chelsea School of Art and photography at the Royal College of Art. He worked as a freelance photographer and illustrator for Vogue, Tatler and Elle magazines. He was commissioned for portraits for album covers for David Bowie (Scary Monsters (And Super Creeps) and Tin Machine) and Hazel O'Connor (Sons and Lovers). He has exhibited widely on the London art scene and his work covers many genres from life paintings to bronzes, from pop art to landscapes.

Bell was also the subject of a film by the artist Marcus Thompson, titled Edward.[1]

Background and education

Edward Bell was educated at Haileybury and Imperial Service College and went on to study Art at Brighton College of Art (now the Faculty of Arts (University of Brighton)). He took a Graphic design degree at Chelsea School of Art, along with amongst others, the author and designer Roger Kohn; and from there went on to take an MA in photography at the Royal College of Art. According to Bell's own account of his time at the Royal College, he clashed with the head of department and 'refused' the MA he was awarded,

"Studying photography at the Royal proved a disappointment, for them and me. The then head of department would have been more suited to coaching a rugby scrum. I reacted, and on being awarded the MA refused it in disgust. (It turned up months later in the post.)"[2]

Bell worked as a freelance photographer undertaking various iconic art projects including work for Vogue and Tatler, as well as the Album cover for David Bowie's Scary Monsters (And Super Creeps) of which he has written:

"This client was dressed in an insipid yellow, short sleeved shirt and bright red trousers, but most damning of all he wore dark glasses to examine the pictures. I was introduced to:

“David”

“David who?”

“David Bowie”

I stood corrected, and to my astonishment we got on together. He wanted an album design within the week. OK no problem. The image for ‘Scary Monsters’ was produced".[2]

After ‘dropping-out’ of the London art scene, and for a while becoming a self-confessed heroin addict [3] Bell took 'time out' in Venice and Florence. His return to the Art World in 2003 was marked by an exhibition in Gallery 286, London, entitled Re-nude. It was closely followed by Pulse, a collection of symbolic abstracts:

“I believe us all to be a combination of black and white hearts and life about crossing out as many black as possible. Here I depict the varied combinations of black white, tranquil, tortured, grey, craven, colourful, Mickey Mouse, monstrous …."[4]

Recent work

Bell's work has tended to be focused in two areas; nudes and landscapes. His recent exhibition of landscapes in oil Stunning Moments at the Arterie Gallery in Ludlow was described by BBC Shropshire in the following terms:

"The speed of painting is one of the most enthralling aspects of the exhibition. Amid the complex abstraction of colour and landscape, there's an engaging simplicity of brush strokes, light and shade. The speed of capture also translates into an energy, even within some of the darkest backdrops, punctuated with their small, almost horizontal flashes of iridescent colour." [3]

Bell's latest exhibition One Sky, Gallery 286 is a series of skyscapes and landscapes, painted 'en plein air' in oil on canvas or board.[5]

Additional information

In 2005, Bell was among the many artists, including Sir Paul McCartney, David Hockney, Tracey Emin and Damien Hirst, who produced a postcard, selected by Bernard Williams of Christie's, for the Art of Care Auction in Edinburgh.[6]

Exhibitions
  • One Sky, October 2008, Gallery 286 London
  • Emigration, June 2008, Stronach Gallery Co. Galway
  • Pulse, 2006, Gallery 286 London
  • Re-Nude, 2003, Gallery 286 London
  • One Sky, 2008. Invitation to an exhibition by Edward Bell.
  • Landscape in oil, by Edward Bell
gollark: <@!206233133228490752> Sorry to bother you, but keypairs generated by `ccecc.py` and the ECC library in use in potatOS appear to have different-length private and public keys, which is a problem.EDIT: okay, apparently it's because I've been accidentally using a *different* ECC thing from SMT or something, and it has these parameters instead:```---- Elliptic Curve Arithmetic---- About the Curve Itself-- Field Size: 192 bits-- Field Modulus (p): 65533 * 2^176 + 3-- Equation: x^2 + y^2 = 1 + 108 * x^2 * y^2-- Parameters: Edwards Curve with c = 1, and d = 108-- Curve Order (n): 4 * 1569203598118192102418711808268118358122924911136798015831-- Cofactor (h): 4-- Generator Order (q): 1569203598118192102418711808268118358122924911136798015831---- About the Curve's Security-- Current best attack security: 94.822 bits (Pollard's Rho)-- Rho Security: log2(0.884 * sqrt(q)) = 94.822-- Transfer Security? Yes: p ~= q; k > 20-- Field Discriminant Security? Yes: t = 67602300638727286331433024168; s = 2^2; |D| = 5134296629560551493299993292204775496868940529592107064435 > 2^100-- Rigidity? A little, the parameters are somewhat small.-- XZ/YZ Ladder Security? No: Single coordinate ladders are insecure, so they can't be used.-- Small Subgroup Security? Yes: Secret keys are calculated modulo 4q.-- Invalid Curve Security? Yes: Any point to be multiplied is checked beforehand.-- Invalid Curve Twist Security? No: The curve is not protected against single coordinate ladder attacks, so don't use them.-- Completeness? Yes: The curve is an Edwards Curve with non-square d and square a, so the curve is complete.-- Indistinguishability? No: The curve does not support indistinguishability maps.```so I might just have to ship *two* versions to keep compatibility with old signatures.
gollark: > 2. precompilation to lua bytecode and compressionThis was considered, but the furthest I went was having some programs compressed on disk.
gollark: > 1. multiple layers of sandboxing (a "system" layer that implements a few things, a "features" layer that implements most of potatOS's inter-sandboxing API and some features, a "process manager" layer which has inter-process separation and ways for processes to communicate, and a "BIOS" layer that implements features like PotatoBIOS)Seems impractical, although it probably *could* fix a lot of problems
gollark: There's a list.
gollark: Lots of them.

References
  1. Artist's webpage, see below.
  2. Artist's website
  3. BBC Shropshire, Theatre and Arts Reviews, 16 May 2005, Edward Bell is Back
  4. Edward Bell, 2006, Gallery 286
  5. Gallery 286 webpage.
  6. "Art of Care Auction". Archived from the original on 17 July 2011. Retrieved 26 September 2008.
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