The Aligera Series now available to collect

Very pleased to be able to announce that the new collection of limited edition C-Type prints by Paddy Hartley 'The Aligera Series' is now available to buy. Each image is created using sectioned heart tissue and is reassembled to suggest entomology, lepidoptery and marine life forms. 

Each print is beautifully rendered on Fuji Flex high gloss, high quality paper giving an incredible richness and depth to an image. Prints are available as limited editions and commissions.. 

Aligera prints are only available from Paddy Hartley's Studio directly. You can view the entire series HERE.

For more information on the print series, email any enquiries direct to the studio HERE

GLIMM RUBEUS 7 DAY AUCTION GOES LIVE

As way of thanks and in support of a great charity, Patrick is auctioning a brand new, beautifully packaged, branded Glimm Rubeus soft PVC collar in support of Cynthia Hammond Animal Trust (CHAT). 

The garment up for grabs is the design from his Glimm Rubeus collection which has featured most prominently in 2014/15 fashion publications including 'W Magazine' and 'Garage Magazine with SHOWstudio', shot by Steve Klein and Nick Knight respectively, worn by Lara Stone and Georgia May Jagger.

The winning bidder will be invited to choose their preferred colour, Opaque Red, Opaque Black, Opaque White, Transparent Red or Colourless transparent (with a slight hint of blue). In addition, Patrick will provide fitting panels for both male and female fitting. 

Patrick will cover worldwide shipping costs for the winning bidder who will receive the garment double boxed in a white, magnetic closure gift box. All proceeds will be donated directly to CHAT and should the winning bidder choose to collect their garment in person from Patrick's London Bridge studio, they will also be treated to tea and cakes!

This is a 7 day auction ending on Sunday 31st May 2015 and you can find the ebay auction listing below. Happy bidding and lets raise a little money for CHAT.

http://www.ebay.co.uk/itm/Glimm-Rubeus-PVC-collar-by-Patrick-Ian-Hartley-/121660170417?ssPageName=ADME:L:LCA:GB:1123

Paddy Hartley: Of Faces and Facades now available from Black Dog Publishing

London based publishing house Black Dog release their new title 'Paddy Hartley: Of Faces and Facades'. The title features an in-depth interview with Paddy conducted by Professor David Houston Jones and includes essays by Professor Jones and Dr Marjorie Gehrhardt as well as images of Paddy's work. The release of the publication marks the end of Paddy's year long residency in the College of Humanities at Exeter University and his involvement in the EU INTERREG IV-funded research project 1914FACES2014 on the cultural legacy of facial disfigurement.

Paddy would like to take the opportunity to thank David, Marjorie and Faces of Conflict Curator Cristina Burke-Trees for a wonderful year spent working with the team at Exeter University and of course all contributors to the publication. Special thanks too must be extended to the family of WW1 serviceman and Gillies veteran William M Spreckley who have generously contributed images from their personal family archive. Thanks for your enduring support!

http://blackdogonline.com/all-books/paddy-hartley.html

Breaking the Code: Yeo Crossword unveiled

For the past 12 months, Paddy has been working as Artist in Residence in the College of Humanities at Exeter University. Invited by Professor David Houston Jones to produce new work for the 1914FACES2014 project, Paddy decided to focus on retelling the story of Plymouth Sailor Walter Ernest O'Neil Yeo who sustained terrible facial burns in the Battle of Jutland, the most significant naval engagement of WW1 and subsequently underwent pioneering facial surgery at the hand of surgical pioneer Sir Harold Gillies. Paddy has been researching Walter's story since the development of uniform works as part of Project Facade, but Walter's case posed many interesting questions and notions relating to facial function vs facial aesthetic.

Regarding Walter

Gillies was developing his pioneering facial surgery in response to the increasingly horrific and life changing facial injuries the servicemen were sustaining. As wound management and patient stabilisation improved in the field hospitals, so servicemen survived increasingly serious injuries. An ironic if somewhat twisted consequence of healthcare innovations. Walter's injury specifically affected his eyes. Despite the excellent treatment he received prior to being passed into Gillies care, the scar tissue on Walter's eyelids effectively turned his eyelids inside out. If the patient cannot blink, he cannot clean his eyes and is at risk of infection and blindness and Gillies primary concern was to restore function, after which aesthetics would be considered to try to get the patient as close to his original appearance prior to his injury. 

Gillies freely admitted that in preparing to remove the scar tissue from Walter's face, the flap of skin taken from Walter's chest used to replace this scar tissue became infected when Gillies attempted to stretch the mid portion of the graft to accommodate the bridge of the nose. The unfortunate effect was that the skin graft thickened and gave the impression of a 'floating' mask over the eyes. Despite these failings, a good degree of function was restored to Walter's eyelids.

‘On occasions where I have provided images of Walter before and after his surgery to local newspapers in my search for his family, there have been a number of occasions where the publishers have credited the images incorrectly or placed them in the incorrect order, assuming the post operative image is in fact the condition of Walter's face before his surgery. Its easy to say that Walter looked worse after his surgery than before but there are a couple of factors that need to be considered. Restoring function to Walter's eyelids was the primary goal of the surgery and in this regard, Gillies was successful. The black and white photography does not however convey the heavy scar tissue on Walters face described by Gillies as thin, white and waxy, not to mention the angry red inner surface of Walters eyelids exposed by the contraction of scar tissue where eyelids remained’.
Paddy Hartley 2015

Designing the Work

In researching and designing the new work, Paddy’s starting point was Walter’s medical record held by Gillies Archives and now in the collection of the Royal College of Surgeons England. From this point, additional information was gathered from the National Archives Kew, newspaper appeals and respondents, Walter’s extended family and Sheila Yeo from The Yeo Society. A key piece of information contributed by Walter’s Nephew George, was that Walter was a keen crossword compiler for national newspapers. By combining the crossword puzzle format with the naval signalling flags used by the Navy from 1913 and throughout WW1, Paddy managed to devise an artwork which required the viewers active participation in solving the puzzle to understand the story the puzzle conveys. Signalling flags are used to communicate from ship to ship or ship to shore over a distance and was an entirely appropriate metaphor for telling a story over a ‘distance of time, from the past’ so to speak.

Flag Treatments.

Each flag in the crossword is unique in the set and are made from original salvaged and vintage naval signalling flags which have previously been used aboard ship. Each flag is constructed with subtle differences and are grouped by theme, context, construction method and fabric treatment to enrich the content of the piece. Wherever possible, details from the original flags from which these new flags were created have been included. Holes, hems, tears and dye run are all retained.

Flags relating to battle and burns are burned, scorched and tattered. Designs are created by layering fabric and burning through the top layer to reveal the underlying colour.
Flags relating Walter’s eyelid contraction are designed with raw reverse edges and hems turned forwards and outwards, wrong sides facing front.
Flags relating to surgery and surgeon are formed by turning flaps of fabric from the rear of the flag to the front, referencing the method Gillies used turning skin graft flaps from a healthy part of the body to the injury site. In addition, the white fabric used in these flags is stained with the red dye from other flags washed with the white
Flags relating to negative experiences and death are bound with black edging.
Combinations of these details occur where words and phrases intersect.

Over the course of the WW1-100 Centenary Paddy will continue adding new words to the crossword to expand on Walter’s story with a view to presenting the work on a Royal Naval vessel in the years ahead.

Breaking the Code

‘Crossword’ features in ‘Faces of Conflict’ at Royal Albert Memorial Museum Exeter until 5th April 2015 Curated by Cristina Burke-Trees and the RAMM curatorial team. Visitors to the gallery have the opportunity to complete the crossword using in-gallery resources. If you aren't able to make it to the exhibition, you can still complete the crossword by downloading the images below. Simply click and drag the images to your desktop to print or alternatively, ctrl click on each image and save to your desktop prior to printing. Use the flag key, questions, crossword matrix and image of the installation to complete the puzzle. The questions are designed to be as informative as the answers themselves. Consider completing the puzzle with a young member of your family. It is designed to introduce difficult and graphic subject matter in a way which young people are able to absorb and understand a unique period in military, social and surgical history and the challenges faced by people who live with a life changing facial difference.

Questions

Across 

1. Walter’s operating surgeon and founder of the Frognal Centre for Plastic Surgery.

7. Walter’s age when his father perished at sea. 

10. The medical term used to describe the contraction of burns inflicted scar tissue, turning Walter’s eyelids inside out. 

12. Date and battle in which Walter sustained his injuries. The day everything changed.

13. The German SS which disabled the vessel aboard which Walter served. 

14. The tubing of healthy skin, to transport grafts from Walter’s chest to face. 

 

Down 

2. Walter’s profession at the Western Hotel, 1923. 

3.  HMS that sank with Walter’s Father Francis aboard. 

4.  She became Walter’s wife in 1914.

5. HMS to which Walter was assigned on the 1st April 1915. 

6. How Walter’s nephew remembers his Uncle. As a - - - - - - - - - man. 

8. The year of Walter’s passing. 

9. Walter’s extensive facial burns were caused by exploding  - - - - - - -.

11. Walter’s Step-Grandfather Henry Benlow, Head Naval Instructor in - - - - - - -.

Breaking the Code: Faces of Conflict and the resumption of Project Facade

Throughout 2014, Paddy has been working as Artist in Residence in the College of Humanities at Exeter University at the invitation of Professor David Houston Jones. His residency features as part of a much broader series of events (1914FACES2014) examining the culture and legacy of facial difference, particularly in relation to Les Gueules cassées. After a 7-year hiatus, Paddy has resumed ‘Project Facade’ and this new work will premiere at the Royal Albert Memorial Museum (RAMM) on Friday 16th January 2015 in the group exhibition, ‘Faces of Conflict’ curated by Cristina Burke-Trees.

 

A focus of Paddy’s work over the past 12 years has concentrated on the researching the lives of some of the Commonwealth servicemen who underwent pioneering facial surgery during WW1 at the hand of surgical pioneer Sir Harold Gillies. The surgery Gillies developed to treat the horrific life changing facial injuries sustained by so many servicemen during and after WW1 facilitated enormous advances to be made in Oral maxillofacial surgery, skin grafting and prosthetic design. 

Faces of Battle, National Army Museum Chelsea. 2007

Paddy was fortunate to receive major funding from The Wellcome Trust in 2004, enabling him to research in depth under the project name ‘Project Facade’, the stories of 10 servicemen treated by Gillies. Using military uniforms, fabric manipulation and digital embroidery Paddy embellished these garments with findings on the early lives of these men, the circumstances in which they were injured, the methods used to repair and reconstruct the face, and then describe how each individual moved forward with the help of their families to live as much of a normal life as possible. Gillies treated over 5000 servicemen and Paddy’s initial selection of 10 gave a snapshot of the experiences of the many.

 

In 2007 Paddy co-curated ‘Faces of Battle’ at the National Army Museum which presented the uniforms telling the fragmented life stories of a selection of Gilles patients, in context with a historical study of the foundation of the plastic surgery unit founded by Gillies at Sidcup, along with many of the advances in treatment which were pioneered at the unit. His uniform sculptures have since toured internationally, visiting Australia, Holland, Norway, Germany and the USA and are in the permanent collection of The Museum of Arts and Design New York, and The Wellcome Collection London.

 

The focus of Paddy’s residency for 1914FACES2014 has been to revisit the story of one of the servicemen about whom he made artistic responses for Project Facade and whose story he has continued researching in the intervening years. Plymouth born sailor Walter Ernest O’Neil Yeo was badly burned in the Battle of Jutland 31st May 1916. Despite restoring function to Walter’s badly burned face, surgeon Gillies acknowledged mistakes in the treatment, making his story quite unique. Paddy was able to trace relatives of Walter who generously shared memories of a man with a very unique history of considerable significance.

 

The new work Paddy will be presenting in Faces of Conflict at RAMM will consist of a new diptych describing the events which impacted on the life Walter Yeo featuring a naval uniform and for the first time, a vintage hospital of the type patients wore at the Sidcup clinic. Both sets of garments feature fabric manipulation, digital embroidery, appliqué and heavy burning and branding of fabric. To compliment the garments, Paddy has created an installation of naval signalling flags in the form of a freeform crossword puzzle detailing significant moments, memories, events and words relating to Walter’s life. Signalling flags are traditionally used to communicate over a distance and in this instance, serve as a metaphor for telling a story from the past. In later years Walter became a crossword compiler for national newspapers.

 

This is the first time these works will be presented publicly, but they are by no means complete. Throughout the centenary period marking the start and end of WW1, Paddy will continue to add new words to the Yeo crossword and likewise, the embroidered garments will be added to and new garments will be created to further describe the life of a very special man.


It wouldn't have been possible to develop these new works without the support of Professor David Houston Jones, Curator Cristina Burke-Trees and Dr Marjorie Gerhardt, the team at Exeter University and RAMM for which Paddy is eternally grateful. Finally, special thanks are extended to all of Walter’s extended family and Shelia Yeo from the Yeo Society who contributed so generously to the making of the work.


Look out for further updates throughout the week including installation, preview and press coverage.

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Leather Face Corset Redux

In the Spring of 2012 Patrick was commissioned by stylist Jacob K to realise his original  Face Corset collection in coloured leather for an editorial with Robi Rodriguez for AnOther Magazine. Since the publication of the collection, the leather Face Corsets proved to be highly popular. It's only now that Patrick can make available selected items from this commission. The entire precursor collection is being produced in tandem with his brand new leather Face Corset Collection due to launch in a few weeks.

Glimm Episode 1: Appendix

In response to the great reception of Patrick Ian Hartley's 'Glimm Episode 1', Patrick launches an appendix to the neckwear collection which is now available in it's entirety in both black and white PVC. Contact Patrick's studio for availability.

Patrick Ian Hartley at SHOWstudio. SHOWcabinet: Prosthetics

These beautiful images of Patrick's work are produced by the team at SHOWstudio for the current SHOWcabinet: Prosthetics exhibition.

The series of 'Splint' sculptures are assembled from hip replacement implant components while the 'Crown of Thorns' comprises of a surgical steel skull coronet and glass pasteur pipettes. All artworks have reference to religious iconography and the beginning and end of life.

SHOWcabinet: Prosthetics runs from 18th April - 31st May at SHOWstudio, 19 Motcomb St, Belgravia, London, SW1X 8LB, United Kingdom

Patrick Ian Hartley exhibits surgical and post mortem sculptures in the new SHOWstudio exhibition PROSTHETICS

Patrick Ian Hartley exhibits surgical and post mortem sculptures in the new SHOWstudio exhibition PROSTHETICS

Paddy Hartley's newly refurbished and expanded series of Cruciform sculpture series 'Splint' go on display in the forthcoming exhibition at SHOWstudio's new Belgravia gallery previewing on the 17th April 2013.

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Face Corsets feature in the new exhibition 'In Your Face' at SHOWstudio.

Carrie Scott, Director of the SHOWstudio store, today took delivery of 3 of Patrick's original Face Corsets and Neck Brace's to feature in the latest exhibition at SHOWstudio, 'In Your Face'. Curated by Nick Knight with Carrie Scott and the SHOWstudio team, the show is an exciting mix of Fine Artists, Photographer, Filmmakers and Fashion Designers.

Patrick is taking commissions of the work presented in 'In Your Face' and any sales enquiries regarding the work displayed in gallery should be directed to Carrie Scott at SHOWstudio for the duration of the show. For further press information, contact Niahm White at SHOWstudio.'In Your Face' at SHOWstudio, London 

PRESS VIEW: 1 December 5-6pm

PRIVATE VIEW: 1 December 6-8pm

continues until 4th Febuary 2012

1-9 Bruton Place

London W1J 6LT 

Shop Hours: Monday - Friday 11:00-18:00

Phone: Tel: +44 (0) 207 399 4299

SALES: carrie.scott@showstudio.com

PRESS: niamh.white@showstudio.com

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New Face Corsets previewed in 'Anatomy' at The Cob Gallery, London.

In collaboration with 'Guts for Garters', London's Cob Gallery in the heart of Camden present their final exhibition of 2011, 'Anatomy'. Patrick will be presenting 3 brand new satin Face Corsets and neck braces whose forms incorporate a gentle influence based on Swann Morton scalpel blades. These designs are available as a made-to-order limited edition which are available to purchase for the duration of the exhibition only. All sales enquireys should be made direct to Cob Gallery.

In addition to presenting new Face Corsets, Patrick will be exhibiting limited edition scupltural ceramic work under the name Paddy Hartley. The Cob Gallery and Guts for Garters have presented Patrick/Paddy with a rare opportunity to exhibit work from both aspects of his career (fashion and artistic) in the same space.

For further details on the show and related events, contact The Cobb Gallery directly at info@cobgallery.com

'Anatomy' at The Cob Gallery, London.

Press Preview from 4pm, 24th November 2011.

Private View from 6pm - 9pm, 24th November 2011.

Continues until 23rd December 2011.Anatomy.

The Cob Gallery, 205 Royal College Street, Camden, London, NW1 0SG

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