Bristol artist Jimmer Wilmott is tipped by Bristol artists as 'the one to watch'. Starting with a joint shows in 2015 he is now preparing for the first of his first of two solo shows in London.
Jimmer is a pop surrealist working in acrylics. His work is a frenzied mash of: 1950’s iconic establishment, the grotesque and the cute of pop surrealism, together with a the vibrant colours of his pallet. His recent works play with popular culture and catchphrases.
He regularly exhibits in his home town of Bristol and has recently made sales in America and across Europe. He is one of the 400 artists selected to paint at Upfest 2018 following the recognition he received in MSN's 'The UK's Most Striking Street art' for his performance last year.
He undertook his degree in Drawing and Applied Arts at the University of West of England following a foundation course at Queens Road Art College. He paints and lives in his studio, a Dutch narrow boat in the Bristol Docks.
More to come about Jimmer very soon
The girl with the Smurf tattoo by Jimmer Willmott
When wet dreams go wrong by Jimmer Willmott
A new artist to the Shakespeare I'm thrilled to announce that we have original works from Bristol pop-surrealist Jimmer Willmott. I've been hoping to feature Jimmer's work for some time so I am really chuffed that we will be showcasing his unique collection of sugar coated irreverent crazy.
Originals avaiable at The Shakespeare
Captain Sweet Tooth by Jimmer Willmott
Our Geppeto by Jimmer Willmott
ACAB (all clowns are bastards) by Jimmer Willmott
In 1996 on the island of Kefalonia, off the coast of Greece, I met an old odd man who asked me:
“If it takes a week for a fly to walk a barrel of treacle with hobnailed boots on, how many bananas do you get in a bunch of grapes?” *
This seemingly bizarre question has resonated with me from that moment as young child, his playful words and bundles of riddles were so odd, and I liked that, he was different and anything but a stereotypical pensioner.
In the past few years I’ve moved away from the art in many galleries that I found to be bland and humourless; this was a defining moment, helping to substantiate my own style. It was a crossroads for me, to start my own colourful orgy of edgy and punchy pop surrealism, nodding to the highly influential American lowbrow scene I found myself drawn to.
I’ve had a string of influences over the last few years but finding amusement is the main contender that comes through in my art, and is my main source of inspiration.
Mad magazine was always my favourite thing to look at, then I found Juxtapoz magazine, which blew my mind.
My work combines a frenzied mash of 1950s characters, mass produced plastic and sugary food products. I also like painting eyeballs on things. In my work, I like to play with perspective and contrast. Cheapening imagery is something I genuinely find funny; it keeps me constantly developing my palette and keeps me motivated behind the paint brush.
In these recent works I’ve realised that it’s more than ok to hit the viewer with a solid wall of sugar-coated imagery, but equally important to include an inevitable sugar crash. Bright colours and playful imagery keep the subject matter light, with a heavy comedown that hints something is not quite right and out of kilter.
*There are no bananas in a bunch of grapes.