You can view the film via the link below. The film is a collaboration between this month’s Guest Curator, filmmaker Sam Norton and New Blood Art’s new Associate Creative Director, Soraya Gilanni.

We hope you enjoy it and look forward to your feedback.

For children of a certain generation the illustrator Richard Scarry’s Busytown was a homely but nonetheless baptismal first encounter with a depiction of Being-in-the-World – a particular and supervening awareness of the worldhood of the world. I remember the reading* of his books being an eye-widening experience, verging on a kind of sensory overload, so many details required attending to, while the overall picture beamed out coherently. The bustle and intricacy of his books was for a many a first dawning of the different occupations people can have in the world, even the notion of difference and variety, awaking an itching sense of possibilities.

Annotation of people and the objects that signify, reveal and distil them, and activity-filled cross sections of highly partitioned spaces are, it seems, excellent devices for calling forth this particular form of awareness of the world’s worldiness. The delight of exactly this quality in Richard Scarry’s work can be found in the films of Wes Anderson, when he allows us to see the invested minutiae of the Tenenbaum household, (achieving that impossibility – neat clutter) or the cross-section of the submarine in The Life Aquatic, showing the detail and mere procession of the lives of its occupants.

There is something possibly theatrical about a house without a façade, in the sense that it makes us suddenly alert to and tender towards the everyday: ordinary hard work, day-to-day endeavours, the daily return to the same tools – in short,  the miracle of habit. And increasingly the façadeless house recurs to me as a good, and apt, image for what is happening here at New Blood Art – a house made of rooms of great endeavour and activity, open to the world, and without a homogenizing house style imposed on the artefacts created within its walls.

• reading, or viewing, retreating from, returning to, taking in

John Hainsworth, 'August', acrylic, oil and watercolour on aluminium mounted on 9mm mdf block.

Re-posted from It’s Nice That:

Matt Lee’s Presence of Absence photographic series features a “decontextualised black shape” looming ominously over a Bangalore apartment block. The title of the work suggests the shape is some kind of infinite void of time and space, poised on the brink of causing unthinkable chaos and destruction (see The Fifth Element for reference). Or perhaps it’s a giant black obelisk serving as a memento mori constantly reminding us of our fleeting time on this mortal plane. Either way it’s very sinister, or I’m very paranoid. – James Cartwright, It’s Nice That

Kusama’s infinity nets use accumulation and repetition to create an immersive surface that directly reference the hallucinations she experienced from childhood.

Work by Yayoi Kusama

They are deeply intriguing surfaces to witness in reality, sublime and mundane, seeming to reference both hallucination for example and bearing a remarkable likeness to any common concrete pavement – recreating the experience Kusama often had when concentration on a particular object and pattern seemed suddenly to invest the rest of the world, complicating distinctions. Pre-linguistic, occurring in the space before naming, this notion and practice of accumulation and repetition is explored by many artists.

Newbloodart’s Dan Bennett mines a similar vein, though the result is overtly formalized, and he explores visual phenomena through the lenses of both biology and tradition.

'Nebula' by Dan Bennett

“Phosphenes have intrigued me since childhood. The intricate swirling patterns that form before the inner eye have been a constant source of inspiration and the mainstay of my artistic production. The spirals, dots, parallel and meandering lines, arcs, grids, circles and zigzags that dance across closed eyelids are a direct link to our cultural ancestry. These patterns are found throughout the ancient and modern world.”

'Excavations IV' - Sara Wilett

Working on a substantial scale Sara uses heavy boards, onto which she systematically layers acrylic paint. She then returns to interrupt the layering by excavating into the acrylic with repeated circular gestures. The results are bold and intense, visually mesmerising tonal paintings that emerge from what might almost be obsessive compulsion – a visual ambiguity is manifest. The repetitive gouged hollows swarm across the surface, light on dark, to confuse the eye and trick the brain.

Gerhard Richter Painting. Belz spent three years as an observer in Richter’s Cologne studio capturing mesmerizing footage of the artist producing his radical abstract works. As we witness him mixing layer upon layer of bold primary colors, smearing the wet paint with a giant squeegee and scraping at the surfaces of the canvases, Richter’s masterpieces appear before our eyes. “You get the feeling the paintings are staring at you,” says Belz, who met the painter while filming his vibrant pixelated stained glass window for the Cologne Cathedral. “There’s a physicality to Richter’s paintings. I wanted the viewer to become immersed in the subtly suspenseful cycle of the process.” Belz’s poetic film coincides with Richter’s 80th birthday and a major retrospective at London’s Tate Modern spanning five decades of his varied work.” – Nowness.

Take a moment to look at the work of Bartosz Beda, an astounding painter – the opportunity to own art of this quality for £600 does not come along twice.

Below are five new talents, from the first wave of those artists we have discovered.  Buy whatever catches your eye now – before it’s gone.

We will be introducing new artists to site regularly over the next 4 weeks, so keep checking back.

Bartosz Beda - 'instynkt', original painting in oil on canvas.

Bartosz Beda - 'Untitled', original painting in oil on paper (this work is a diptych - the painting is made in 2 sections)

Bartosz Beda - 'Gagarin', original painting in oil on canvas.

Laura Hunt - '500658', original painting in acrylic on board.

Cressida Knapp - 'The Last Bullet', original painting in watercolour and ink on paper.

Cressida Knapp - 'Tajikistan’s Marriages of Austerity', original painting in watercolour on paper.

Amber Hewitt - 'In The Evening', original painting in acrylic on canvas.

Amber Hewitt - 'I'll Keep It In My Pants Pocket', original acrylic painting on canvas.

'False Hope 2', (part of ‘Do Not Think’ series), original hand embroidery work on cotton fabric.