Out Of The Dross, 2011
Unique screenprint on Somerset Radiant White Velvet 330 GSM paper
112 x 72cm

Please note: This exhibition will take place at Paul Stolper Gallery, 31 Museum St, London WC1A 1LH

We are extremely pleased to announce the forthcoming collaboration with Paul Stolper Gallery, London – Jamie Reidʼs exhibition ʻOut Of The Dross – Libertyʼ. The show is made up of unique works on paper together with sequences of hand-screened works
that are perfectly in time with the energetic cacophony of now. In an increasingly visual world the power of the graphic image to define a moment is clear. As political and social reform movements undermine and confront moribund systems of fiscal and cultural entrapment it seems the time is now for artists to step forward. Indeed there has been precious little response from the art community to the crises that surround us.

Jamie Reidʼs status as the principal user of Rogue Materials in British Art is undisputed. Tightly conceived and powerfully articulated, Reidʼs artwork has always displayed a willingness to seize upon and develop whatever is to hand to create work of energy and immediacy – newspaper cuttings, a cheap photocopier, paint splashes, degraded photographs – images misaligned, contrast pushed and mistakes embraced. Of course thereʼs a broader story that involves druids, spies, crofting on Lewis, protest movements and allotments in Liverpool. Whatever you think Jamie is, he might be, but heʼs probably not.

ʻOut of the Dross. Into The Age Of Piracyʼ. Although the base image and text for this comes from a 1980 campaign for Bow Wow Wow, nothing could be more appropriate for these exciting and volatile times. And Out of the Dross will come Liberty – a word that neatly summarises everything Jamieʼs been about from the beginning – Beatonʼs Queen of course represents the dying Old Order. Now is the Time For Magic.

Taking base images that cement the foundations of Jamieʼs reputation and covering them with symbols and glyphs that represent the wider spectrum of his visual register is a confounding yet liberating technique – itʼs a celebration and a cathartic trashing at the same time. The symbols themselves include Boudicca shaking her spear at the Houses of Parliament, the Hare – symbol of free thinking, the Oak Leaf representing our heritage and the cycle of the year, Delacroixʼs Liberty Leading the People in revolt, framed by the towers of Croydon (symbol of oppression by self-serving governments both local and national). This last image predates Jamieʼs flash point with the Pistols and comes from the visually prescient Suburban Press period (1970-1975). Boudicca was used principally for the ten year installation cycle at the Strongroom Studios in Shoreditch (1989-1999), and the oakleaf refers to a lifelong association with the Druid movement (his great uncle George Watson Macgregor Reid was the chief druid of the British Isles. The Hare is a direct signal to Joseph Beuys and the aims and objectives of the Free International University.

“Economics is not only a money making principle. It can be a way of production to fulfill the demands of people all over the world. Capital is human kind’s ability in work, not just money. Thus economics includes the creativity of people. Creativity equals Capital”, Joseph Beuys.

Of course the commodification of artwork is a double-edged sword. In acknowledgement of this, 50% of the artistʼs profits from the sale of these works will go directly to support the work of the Occupy London movement.

As well as these unique works Jamie will also be exhibiting a series of diamond dust editions that parody the most famous Reid image of all. You know what it is…Looting the Loot…Cash from Chaos…Liberty!

Here follow a sequence of appropriately rough installation shots of the Peace Is Tough installation at London’s Bear Pit October 27th – November 20th 2011.















Read the press release here.


Holidays In The Sun (1977), Torn lithographic print with gouache, 300mm x 515mm

Peace Is Tough
Isis Gallery at The Bear Pit
Park St
London SE1

27th October – 20th November 2011

Private View 26th October 6pm-9pm

Isis Gallery and Merge Festival are extremely pleased to announce the opening of Jamie Reid – ‘Peace Is Tough’.

Hot on the heels of Reid’s wonderful Ragged Kingdom installation for Isis Gallery at Londonewcastle Depot in June, Peace Is Tough revolves around two polarities – one being principal elements of the Jamie Reid Archive which has recently been exhibited at the CCBB in Rio and MoCA in Los Angeles. The second being a presentation of the 365 paintings that comprise the core of Reid expansive and delightful Eightfold Year project.

Peace Is Tough will be installed in a very raw space behind Tate Modern. Entry is at your own risk.

Reid’s Archive spans the decades, from college plotting through punk to protest graphics. This presentation includes original collage work, drawings and paintings, bromides, proof prints and photographs. Elements of the archive are present in extremely important international collections, including that of Tate, acknowledging Reid’s importance in the narrative of 20th and 21st century culture.

The 365 small gouache paintings (each a uniform 100 x147mm) that compromise the core of Reid’s Eightfold Year Project represent an exposure of an intensely private endeavour. Reid’s daily painting practice has flourished in the last ten years. October 31st 2011 will also be the first day of the second year cycle for an online project which offers a daily painting, festival dates, moon phases and wild flower information that changes daily, through the cycle of solstice and equinox (

Jamie Reid’s unique vision articulates and gives form to some of the key issues of our times. He responds to the ever-increasing attacks on our civil liberties and shared common spaces with passionate anger and savage humour, and shows us ways in which we might re-organise our political and spiritual resources. This is the role of the shaman and Reid’s art acts like a lightning rod, returning us to the earth so that we might share the work of healing.

Please contact us at Isis Gallery for images and interview proposals – [email protected] or John Marchant on 44 7906 275 098

Isis Gallery would like to thank Illuminate Productions, Merge Festival and it’s sponsors – Tate Modern, Better Bankside, The Denis Rosen Memorial Trust, Land Securities, Bankside Mix, Commercial Art and the London School of Economics.





Here also follow some shots I took of Rowan practicing with her mate Ross outside Ragged Kingdom and performing at the afterparty at the Strongroom. Made me very proud.



And Dennis Lee Rogers with himself in the Culture Rape piece…


Ragged Kingdom installation shots by Declan O’Neill













There’s a new hand-pulled screenprint available from December 3rd through the London Print Club’s Blisters Blackout project. There are forty artists each producing an artwork with a luminescent element (that means glow-in-the-dark to the rest of us), in editions of forty, for sale at forty quid each. My piece is a reversed reworking in royal blue of a multiple OVA drawing from 1990. It should look something like this!


Contact [email protected] for more info.


Including three archive pieces from the Pistols era, Decadence Now opens 30th September 2010 and runs until 2nd January 2011. Curator Otto Urban writes ‘Exhibitions presenting works of decadent art evoke enthusiastic reactions, just as they provoke public scandals. It turns out that even themes that would seem to be no longer topical and out-of-date, such as censorship, are once again being considered in the context of the new political correctness.’

Parts of the exhibition:
Excess of the Self: Pain
Excess of the Body: Sex
Excess of the Beauty: Pop
Excess of the Mind: Madness
Excess of the Life: Death



Poster Park at Schunk, Heerlen, The Netherlands May 8th – June 27th, 2010

There is a selection of posters included in this exhibition at the beautiful Schunk building in Heerlen in The Netherlands. Here follows the press release.

“Over the last few decades the gig poster has developed into a specific genre within the world of poster art, on the border between applied and autonomous art. Functionally designed, these posters also incorporate a high degree of individuality, expressing the artist’s own vision. In addition to their autonomous work, artists are applying themselves to the design of gig posters, frequently on the basis of their own personal interest in music. These posters, often hand-made screen prints, have become collectors items for music aficionados.

In Poster Park, SCHUNCK* explores the interface between visual art and popular culture, and in so doing, goes in search of the crossover between music and art. On four floors in the main staircase in SCHUNCK*, well-known classics and posters by contemporary artists and designers for bands in various sub-genres of pop music will be presented.”

Participating artists (among others):
Zeloot, Marc Bijl, Rik Meijers, Mara Piccione, Dennis Tyfus, Arrache-toi un oeil, Jamie Reid, Andrew Vastagh, Anita Renee Langemach, Billy Mavreas, Diana Sudyka, DWITT, Emek, Jochen “Fritte” Mönig, John Vogl, K JUDGE, Justin Fuller, Justin Santora, Ken Taylor, Kraken, La Compagnie Crayonne, Mike DeKay, Rhys Cooper, Scarlett Rickard, Sonnenzimmer, Table2Press, Tricia Kleinot, Willem Kolvoort, Rob Warnick, Stefan Fähler, Travis Bone / Furturtle Show Prints, Ryan Duggan, Daniel Munzing, Matthew Douglas, Miguel Chordá, Strawdogs, Brett Andrew Miotti, Todd Slater.

More information & images: [email protected] mailto:[email protected]; +31 (0)45 – 577 22 00.


Untitled, 2009. Gouache on paper. 10 x 14 cm

14th May – 13th April 2010
Private View: 13th May 6.30 – 9.00 pm

“The work bubbles, its cells weaving freely in and out of each other like the organism they compose. The wry and decompressed attitude towards imagery and abstraction exhibits witty unpretentiousness taken to the point of revelation. It moves beyond the living margins, zooming right into a floating, shimmering, half-remembered dream world. A murmur trembling on verge of coherence. Perfect for those desperate for sensation in the monochromatic, decontextualised city. Here, everything smells sad and good like it does after a heavy rain.” Richard Carbut (from Keep Warm This Winter – Make Trouble an interview with Jamie Reid 3am Magazine)

“Painting may be performed, enacted in a state of grace or ecstasy, a mystical trance. Most painters will understand what it is like to enter this state, a channeling of power, focusing of the will; a raising of power, being answered by the spirits as the possession takes hold. There is an outpouring, a rendering-flesh of a thought, idea, feeling – translating the intangible through the medium of paint. ….The act is thought as direct expression, a letting-out or release, a mystical experience.” Stephanie Moran (from An Experiment to Test Belief in Art)

The strategy for this exhibition (Jamie’s first solo showing at the L-13 Light Industrial Workshop) is to present Reid’s smaller paintings on paper and canvas using a traditional ‘painting exhibition’ format. A minimal number of works will be isolated, framed and hung sparingly, so the viewer can be focused in on the intense worlds they portray. Despite this fetishisation (and commodification) of the paintings it must still be remembered that that isn’t necessarily what they are. The individual works are just a miniscule part of a longstanding and ongoing creative process that embodies the spiritual, political and creative beliefs of the artist, and as such, can only be properly understood within that wider context.

Jamie Reid’s practice as an artist sits firmly within a tradition of English radical dissent that would include, for example, William Blake, Wat Tyler and Gerrard Winstanley. Like them, the work of dissent must offer, out of necessity, other social and spiritual models and Reid’s practice is no exception.

Although Reid is known primarily for the deployment of Situationist strategies in his iconic work for the Sex Pistols and Suburban Press, the manifold strands of his art both continue that work whilst showing us other ways in which we can mobilise our energy and spirituality. It is this dialectic between gnosticism and dissent that lies at the heart of Reid’s practice and makes him one of the great English iconoclastic artists.

Jamie Reid’s unique vision articulates and gives form to some of the key issues of our times. He responds to the ever-increasing attacks on our civil liberties and shared common spaces with passionate anger and savage humour, and shows us ways in which we might re-organise our political and spiritual resources. This is the role of the shaman and Reid’s art acts like a lightning rod, returning us to the earth so that we might share the work of healing.

This exhibition will be accompanied by an L-13 publishing project deploying Reid’s iconic and infamous graphics.


12 – 7pm Tuesday – Thursday
12 – 6pm Saturday & Sunday

Jamie is currently working with Rebels In Control on the development of a website for his series of pictures specially created for the Eight-fold year. A new painting will appear on the website each day, eventually totalling 365 paintings in all. Visitors to the site will be able to subscribe to the RSS feed and have a new painting alert delivered daily to their newsfeed applications. Visitors will also be able to feedback their own work and comments via the website. The website is expected to launch in May 2010 and will be accompanied by specially designed nodes in London locations which will distribute additional content over a Bluetooth network.