The artist proofs are even more stunning. Featuring vibrant hand painted backgrounds and executed with even more 22ct gold leaf, the artist proofs are distinctly unique – each piece is a one-off work of art.

Hush Halo – Blue Artist Proof

Hush Halo Jade Artist Proof

Each piece is executed with 16 screen printed layers, gloss UV varnish and exquisitely hand finished with 22ct Gold Leaf.

Halo by Hush – Blue

Halo by Hush – Grey

Halo by Hush – Jade

The first is a magnificent unique edition of 3, hand-painted Artist Proof titled “The Wish” with 22ct Gold Leaf. The second is a stunning 1/1 original painting titled “Eden” with 22ct Gold Leaf.

Tell us about a typical day in the studio

Well as all creatives know art is a sickness not necessarily a gift! So I wake early, grab a coffee as I drive to my studio. I usually land anywhere between 6.30am to 9.00am. My studio is a 2000sqft warehouse on a huge industrial site. I’m pretty much focused so catch up on mails, and make art all day everyday. I create a lot of work but only let the best out. When I post images on social media showing pictures of my studio people always comment about me standing on pieces, but I know they aren’t going to make it so it turns into a HUSH flooring! I usually stay in the studio until 5 so I have a kind of work structure. When I’m painting a show or making an edition though I’m buzzed so usually stay in the studio around 12 hours a day, 6 days a week for months on end. Like I say it’s a sickness!

Your work is a mix of methods, from stencils and screen print to action painting. How did you come about this multi-faceted working method?

I’m very interested in technique and the complexity of how I make works and want to always take it further. Every new body of work I make I introduces new elements. It’s almost like I’m making a new language and introducing new words to the story each time I approach a piece. A lot of my inspiration is a conversation from street aesthetic to studio practice and vice versa. Some marks can only be made on the street and when you try to replicate them in the studio it evolves into something different again.

How does your studio work differ from street and commercial work?

When I’m making work on the street I’m not interested in it looking technically tight. It’s got to be raw or a little brutal. I usually paint the street pieces in the studio on paper then rip it up and recreate it on the street by wheat pasting it back together and painting into it. The pieces I make in the studio are the exact opposite as I use the best materials and want to create something rich in complexity and aesthetic.

When did you make the jump from graphic design and illustration to fine art?

I studied illustration and design at art school for 5 years but was always the kid that could draw at school and did a bit of graf. I did everything after leaving, designed flyers in the Acid House party days, worked for ad agencies in London and Hong Kong. But always made art and was always interested in the street as an arena. By 2006 I was starting to get invited to do group shows and decided to focus on my passion. It was quite a natural progression and developed itself.

You’re from the UK, lived in Japan, and seem to be consistently circling the globe. How does travel – and varying cultures – affect your work method and influence your art work?

Travelling does have an influence on my work but really it affects me as a person. I feel very privileged that art allows both myself and my family to experience all the cultures, people and places around the world. It’s very humbling.

You’ve recently made your curatorial debut in New York at the epic Vandal restaurant – which also includes your own work. How did you choose the artists for this large-scale project? 

VANDAL NEW YORK was amazing to work on. The guys who own the place really did give me free reign (well almost), but considering the investment in the place they were open to anything. The deciding factor for me was that I wanted to show a diverse, international street aesthetic: Handstyles, Graf, Paste up, Collage, Painting, Stencil work and sculpture.

The murals in there where created by Vhils, Apexer, Shepard Fairey, Tristan Eaton, Will Barras, Eelus and of course me!  I also wanted to represent the scene on a whole, so bought limited edition works by Banksy, Kaws, Faile, JR, Eine, Renta, Swoon, Paul Insect, D-face to name a few.

Best place to see art? Artists you’re digging lately?

I read critical theory, and visit museums rather than galleries, I see enough online.

I like so many artists but at the minute I’m looking at works by a collective of painters from San Francisco:- Emilio Villalba, Justin Hopkins and Daniel Segrove, I’m really into Cy Twombly and Harland Miller.  Also Conor Harrington’s new works along with Anthony Micallef and Retna.

This article originally appeared on Rise Art and has been republished with their permission.
http://www.riseart.com/article/2016-10-26-behind-the-scenes-with-hush

Dirty Bomb has become one of Hush’s most sought after pieces and was exhibited at his sell out show Outside/Inside at the Carmichael gallery California 2008. Consisting of mixed media on canvas, Dirty Bomb is wonderfully layered and a magnificent example of Hush’s earlier manga aesthetic.

The piece is framed to conservation standards and available to purchase with or without the frame. For pricing enquiries please contact us at info@kumicontemporary.com

Hush Prints

Hush print: She’s no Angel

Medium: Silkscreen
Signed, Numbered & Dated
Date: 2007
Edition: 30
Size: 56x76cm

Details: Hush’s first ever 3 colour silkscreen print with generous handfinishing from an edition of 30.

Hush: Vamp (Unique)

Medium: Screen Print
Signed, Numbered & Dated
Date: 2013
Edition: 31
Size: 18x22cm

Details: Hand painted with Acrylics & Spray Paint + 3 Colour Screen Print on 350gsm Somerset Velvet Hand made Cotton Paper.

Hush: Dirty Bomb Print

Medium: Screen Print
Signed, Numbered & Dated
Date: 2007
Edition: 50
Size: 55.5x77cm

Details: Handfinished 3 colour screenprint of Hush’s iconic Dirty Bomb, deckled edge artist paper.

Hush: Lolita Lolly (Red)

Medium: Screen Print
Signed, Numbered & Dated
Date: 2009
Edition: 50
Size: 26x37cm

Details: Hand finished 3 Colour screen print Printed 300gsm textured white, deckled edge artist paper.

Continuing his theme of masked beauties, both pieces showed off his incredible technique and attention to detail that has made Hush one of the most exciting emerging artists in the UK.

Hush Art

This original and unique painting is executed in acrylic paint, screen print, spray paint, screen inks on Belgium linen canvas, beautifully framed to conservation standards.

Please contact us for pricing enquiries.

Hush: Unseen II Original Artwork

Hush Print: Rouge 1

A Street Piece Named Desire was released at the Outsiders and comes from an edition of just 15. Measuring an impressive 74cm x 100cm, this large and dramatic print is hand painted with acrylic and spray paint. Hush’s A Street Piece Named Desire is indisputably Hush’s finest print to date.

Hush’s Twin Light has been a favourite since it’s release in 2011. Drawing on traditional Japanese textures and patterns, Hush sets up a striking scene on exquisite hand made somerset white velvet paper. Also included with this piece is a rare Hush paster.

Hush’s Moniker Siren is available as a unique proof from an edition of just 2. A stunning grey metallic background creates an incredible centre piece for Hush’s trademark Siren and Graf tags.

Hush Print: A Street Piece Named Desire

Hush Print: Twin Light

Hush Print: Moniker Unique Proof