East-London-based Chrissie Abbott is an artist who commands attention. Her cosmic collages, videos, paintwork, prints and illustrations appeal to the wry, fun-loving and DMT-saturated creature within us all.
The work she produces is an ecclectic mix of influence and subject matter and she is seemingly, dare I say it, bang on trend, in her image-making capacity.
Expect manipulated vintage images versus vibrant swathes of psychedelic cosmos, layers of assorted clashing texture and bold typography.
Her Mitt Romney collage for the New York Times certainly had me smiling, it employed all the kitschy overkill of a poster-plastered teenage bedroom; a demonstration of her work’s compelling playfulness.
Comprised of a blend of signs and symbols which appeal to fashion, spirituality and pop culture, a heightened sensitivity to trend and the ability to channel this into her work has brought Chrissie Abbott diverse commercial success.
Manipulated images of U.K grime-artist Labyrinth and indie poster-boy Patrick Wolf, are among the content of her dynamic portfolio of collaborative enterprises.
However, some of her influences very much pre-date the contemporary music scene, pointing to the record sleeves and album artwork of 60’s and 70’s bands like Hawkwind and Uriah Heep – her ‘ultimate mixtape’ for Rush Magazine confirmed that she is indeed an individual after my own heart.
From Swedish design mags to Red Bull and 3 Mobile, Chrissie Abbott has worked with some great clients as well as collaborating with a number of YOUNG GOLD TEETH favourites, including The W Project.
Her collaborative work with Jaguar Shoes creating magical cat-themed crockery is a personal favourite of mine, as i’m sure previous YGT features on ceramics suggest. A joyful, sardonic dreamscape in mixed media, this stuff is right up my street.