Anthony Burrill
Anthony Burrill describes himself as “a graphic artist situated somewhere between a fine artist and a commercial artist.” This is a decent one-line introduction but it doesn’t really do his work justice.
Within the mire of artists navigating between the fine and the commercial, Anthony Burrill has carved out a trademark style that has seen him gain wide recognition across the artistic spectrum. As an example, the gallery hosting his upcoming exhibition describes him as the “Godfather of the graphic art scene” - a more luminous description of his work and subsequent contributions to the scene would be hard to find.
Arguably the most fascinating thing about Burrill’s work to date is the winding back catalogue of projects that have contributed to where he finds himself today. Imagine a cauldron and start the broth by tossing in website designs for Kraftwerk; add a few advertising campaigns for the infamous Hans Brinker budget hotel; stir in some huge projects for clients like The London Underground and The British Library and be sure not to forget to season with a string of acclaimed exhibitions and artist residencies across the globe.
Leave to simmer.
Tasting the concoction will provide you with a decent insight into some of the projects that have contributed toward Burrill finding his character style and developing his signature groove. There is a real universal feel to Burrill’s work. In and amongst the information stacks, the wobbling billboards, the humming fax machines, and overflowing lists of laws and rules and do’s and don’t’s, Burrill’s work provides a much needed breath of fresh air.
The punchiness of Burrill’s woodblock posters may appear simple enough, but this is where the real challenges lie. Anthony Burrill’s posters communicate both vocally and visually. Steeped in simplicity, yet traditionally and complexly produced, Burrill’s affirming slogans are both explosively warming and very beautiful.
In this regard, Burrill’s signature work can be compared to the work of poets and songwriters. Whether catchy or beautiful – on occasions both. The key difference being that it is infinitely harder to say something meaningful with only a phrase, rather than a few words or across an entire book page. In our mind there isn’t anything more affirming than a simple message that rouses an audience or triggers an emotion through the expert use of just a couple of kindred words; something that takes a second to read but has the potential to resonate for hours.
Describe your work in 3 words?
Optimistic, Engaging, Thoughtful
Tell us more about the words you choose to use and why…
The words I use are very important to me. I spend a long time thinking of the right thing to say. I try to talk about positivity and offer an optimistic approach to work and life. I use phrases that ‘feel right’ - I guess I work instinctively; as an example, I sometimes I use a phrase that has an ambiguous meaning that could be applied to lots of different things.
I think the trick is to use words that aren’t too specific, that the audience can project their own thoughts and ideas on to.
Tell us more about your woodblock work. What is it about this technique that sees you continue to use it when modern techniques offer more efficient and cost effective alternatives?
I love the whole process of making a woodblock print – it really is a special technique. I work with a local printer called Adams of Rye to make the prints. This way it feels more like more of collaboration as I have an idea for the text that i feel might work and then we set the type and see how it works. Because the lettering is made of wood you can’t re-size it or edit it in any way, so you have to be resourceful in the way you use it. I like to use short words and fill as much of the poster as i can with text.
It definitely gives a warm nostalgic feeling to the posters. I try to keep them looking fresh and modern by using brightly coloured paper, the last thing I want the posters to be is a pastiche of anything. I feel the woodblock gives the words a weight and importance, something that is harder to achieve using a computer.
There is something very lyrical about the phrases you work with on your woodblock posters. How does music affect / inspire your output?
I’m obsessed by music, I listen to music all day while I work. It helps takes me to the 'other place’ where i can think freely. I like lyrical, mellow, groovy music and lots of electronic abstract stuff. As long as it has a groove I’m happy.
Have you ever considered the links between your work and storytelling?
My work certainly has a strong narrative feeling to it, all the work comes from the same place and is trying to communicate the same kind of message.
In another world I could’ve been a songwriter or musician, unfortunately I can’t sing tunefully and I can’t play any musical instruments. I’ve been part of musical projects, but more in a button pressing role, rather than stringing together a song.
What drives your use of language?
An urge to communicate with people I don’t know and will never meet. It is a strange thing, communicating with an audience who have no idea who you are or what you are about. The work has to function really well to reach people in a meaningful way. This is something that I’ve spent the past twenty years trying to achieve.
How much do you think about the visual links between words and language? And how do you gage whether a word or groups of words will work visually?
It is hard to tell. Sometimes I make things that feel like they make sense, but fail to connect with people. I think the main rule is to keep things simple and try not to be too clever. Luckily I find this quite easy.
Do you feel your designs work better in groups or as standalone pieces?
Some pieces work well alone, projects like the Oil & Water poster for example have a very simple story that people get immediately, whereas other pieces take a little longer to sink in but are equally as rewarding. It is important for individual pieces to stand out, but they will inevitably all form part of my on-going body of work and will always been seen and informed by that context.
Where are you heading? Future plans / projects?
Collaborations with The School of Life. A workshop in Barcelona in July, an exhibition in Istanbul in September and a possible collaboration with architects FAT are all on the horizon.
