Festive London CollagesLeave a comment

A bloom

 

A Bloomsbury Pack

 

A ones

 

A pack merylebone

 

A thing

Handmade collages for The Doyle Collections Luxury London Hotels. The Bloomsbury, The Marelbone and The Kenstington. Created to celebrate their winter festivities across brochures, invites and menus.

The Doyle Collection is a collection of eight Irish family-owned luxury and urban hotels in London, Dublin, Washington DC, Cork and Bristol.

 

STUDIO 1Leave a comment

Photo 26-10-2017, 11 32 04 am

In the studio of Martin O'Neill

In the studio of Martin O'Neill

In the studio of Martin O'Neill

In the studio of Martin O'Neill

Photo 26-10-2017, 11 32 16 am

In the studio of Martin O'Neill

 

In the studio of Martin O'Neill

In the studio of Martin O'Neill

Jackie Parsons and I have shared studios for the last 15 years. 10 of which in the current space, a converted shop in a former 1930s seafront Hotel. The space has grown and been shaped organically as we’ve worked on a wide range of creative projects. The space works for us in many ways. A busy freelance studio for 2 practices, an adhoc gallery, an experimental laboratory and an archive and library of published oddities. The shots here are by Alun Callender for the newly published book STUDIO by Sally Coutlard. The photographs were extremely timely as a few months later a flood from the flats above destroyed a large part of the space. Photographs © Alun Callender.

STUDIO 2Leave a comment

In the studio of Martin O'Neill

Photo 26-10-2017, 11 32 46 am

In the studio of Martin O'Neill

In the studio of Martin O'Neill

 

In the studio of Martin O'Neill

Cut it Out Studio. Martin O’Neill & Jackie Parsons. 2017. More studio shots by Alun Callender © for the Book STUDIO by Sally Couthard.

HighLifeLeave a comment

ONEILL © British Airways Highlife Magazine _HIstory of Tickets Paris Metro

 

ONEILL © British Airways Highlife Magazine Fossil Hunter

 

British Airways HighLife Magazine Building Bridges

 

ONEILL Aurora © Artwork Comission

 

ONEILL Highlife Magazine Rough Trade

Editorial Illustrations for British Airways Highlife Magazine. Parisien Tickets, Fossil Hunter, The Bridge That Never Was,  Aurora Borealis, Geoff Travis – Rough Trade.

WeatherLeave a comment

ONEILL  British Airways Highlife Spots illustrations

Some monthly spot illustrations for Paul Simons Weather column in British Airways in flight magazine HighLife.

 

New MuralsLeave a comment

Binsk Mural Ignus web

 

Binsk Mural Ignus web crop

 

Binsk Mural Aqua web

 

Binsk Mural Aqua web crop

 

Binsk Mural Ventus web

 

Binsk Mural Ventus web crop

 

Binsk Mural Terra web

 

Binske Process ONEILL 1

 

FAUNA Binske Process 2 ONEILL

 

Binske Luxury Goods Store. Colorado USA.

A commission to create four large scale collage murals for luxury Cannabis goods store Binske in Colorado USA. The artworks are being used as in store murals and on a range of luxury products banded into Fire, Earth, Water & Air themes. The hand made collages were created from classical etchings & watercolor reproductions from vintage zoological, botanical and natural history archives.

 

 

 

 

 

 

 

 

 

MomentumLeave a comment

From a recent research trip with Luke Pendrell to Kurt Schwitters’ Merzbarn in Cumbria uk. #cylinders #momentum – Moving sketchbook development heading towards the #KS70 programme in 2017.

Award for BettineLeave a comment

Bettine Le Beau – A Lucky Girl from cut it out studio on Vimeo.

Over a year ago Griff & I made a small film about the amazing Bettine Le Beau. It’s just landed an American Illustration / Animation award with The Awards Ceremony next week in NYC.

A Lukcy Girl was shortlisted by the The Bafta recognised British Short Film Festival (ASFF) and had nods from Creative Review, VIMEO Staff Pick, ShortOfTheWeek whilst been shown at various international film festivals.

The film was commissioned for the Holocaust Memorial Day Trust Memory Makers Project. #keepthememoryalive

Bettine sadly passed in September last year, at the age of 83.

 

Die ZusammensetzungLeave a comment

1067 artworks 9

 

1067 artwork 15

 

1067 artworks  3

 

1067 artworks 1

 

1067 art 5

 

1067 artworks 2

 

1067 artworks 6

 

1067 artwork 8

 

1067 artwork 4

 

1067 artworks 7

Series title /  Die Zusammensetzung
Works / 1 – 20 (10 shown here)
Medium / Collage, silkscreen, oil, photocopies, paint & ink on canvas.
Size / 12 x 12”
Mind Invasion Show. The Observer Gallery. Hastings. 2015.

MERZBARN DrahtfrühlingLeave a comment

Layout 1

A2 MerzBarn Poster Test Full BLeed please lr

KURT CROP 5 web

KURT CROP 3 web

KURT CROP 6 web

Kurt Crop 2

KURT CROP 1 web

merz bit

Layout 1

“Drahtfrühling” A collage commission for the Merz Barn publication and in honour of Kurt Schwitters, by Hastings-based collage artist Martin O’Neill. The publication, a proposal for The Merz Barn as a potential international centre for collage studies and research.

MerzBarn Report / Artwork Commission / Text Excerpt

To be invited to create a collage for The Merzbarn by the dedicated people ensuring Schwitter’s legacy and spirit are preserved, was a real honour and privilege. A somewhat daunting task though, to do Kurt justice, & as I embarked on the collage, I sometimes had an eerie feeling of his cheeky spirit peeking over my shoulder and shaking his head.

About the artwork  Drahtfrühling

In making this collage I hoped to capture some of the essence of Schwitters Merz principle, the way he connected and reshaped the materials of every day life and found beauty in the most ordinary of things.

 I began by gathering and collecting – rifling through my own miscellany including German ephemera I collected in 1994, the Merzbarn photo archive & the local stamp and coin shop.

Creating a collage like this involves obsessively wandering – lost in scraps & cuttings, making decisions, creating connections, wrongs – rights, tiny personal compositional signatures or jokes, mulling over, stopping – or not, and that secret sensation of something coming to the end of it’s journey right in front of your eyes.

Often in this process it’s the leftovers that are so inspiring, the bits on the floor, and I’ve often wondered what Kurt’s carpet would have been like in his various ad hoc studios or front rooms – if there were any bits left over of course.

With this in mind I made a decision not to glue or fix the collage down, so it no longer exists, at least not in this form. Bits were swapped or nudged, picked apart, turned over, oddments were dropped on and plucked off – re-cut and tinkered with for a week or so alongside other projects.

Once photographed, the entire collage was tipped into a suitcase along with the bevy of bits that were lying around it. It will perhaps be reconstructed, but it will never be the same. This suitcase of bits may expand as further relevant or suitably irrelevant scraps are stumbled across. Perhaps it may grow enough to fill a gallery floor. I like the idea that it can be moved around and migrate, shape-shift, bits of material re contextualised in an unlimited creative process of change in the true spirit of Merz.

Elements from Drahtfrühling include:

A dry pressed Crocus from The Merzbarn – A present to my wife from Ian Hunter plucked fresh from the annually blooming clump that Edith planted in Kurt’s memory. Photos of Kurt and Edith at  Cylinders Estate. Postcards from Cumbria 1950’s. 40’s drawer liner. A Manx Cat. Scraps of German newspaper – Pforzheimer Kurier 1959 found in Germany, 1994. Elements from Kurt’s poster for ‘Kleine Dada Soirée’ Coiled spring donated by collage artist Jackie Parsons. Clipping of aerial reconnaissance photograph – Hanover 1943. Snippets of Merz publications. Anna Blume cover. 1930’s German bank notes. 1940’s word game. Cutting patterns. Luggage tags. Found letters. Dry stone wall. German bus tickets. Watney’s beer mat. Faxed imagery

Individual elements from the collage were ‘treated’ in different ways. This includes submerging fragments of paper in oil and then washing them and drying them. This oiling technique adds a richness, depth and transluscency to paper fragments, almost as if they’re permenantly wet or have been found in the rain – it results in creating an enhanced sense of layering and depth when elements are layed ontop of each other and also homogenises the fragments by uniting them in a common ‘tone’.

All artwork photography by John Reynolds.