Beautiful Shambles - Group Art Exhibition - Glasgow

A Visual Love Letter to Glasgow
28th – 30th November 2025

Private View
Friday 28th November, 5 pm to 10 pm (RSVP required)

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Snowcone 2025, Chris Swan

I am thrilled, genuinely thrilled, to announce Beautiful Shambles, which is a visual love letter to Glasgow with all its character, charm and contradictions. For one weekend, four Scottish artists come together to share what this city means to us, each in our own language of image, colour and place.

I will be showing new screenprinted artworks on paper and canvas, along with a light box, all exploring Glaswegian slang. Through my process of psycolourgy, I take these familiar, braw expressions and give them a visual life of colour, turning everyday patter into something vivid and gallus (bold).

Nick in the colour lab

I am also collaborating with Glasgow-based photographer Chris Swan on a triptych of large-scale screen printed canvases. Together, we explore the rhythm of the city through scale, structure and street-level observation. Chris will be presenting his own photographic works, printed on aluminium, revealing the honest and unpolished beauty of the city’s streets and hidden corners.

Ross Ryan, known for painting the rugged coastline of Scotland, will be setting his easel in an entirely different landscape. He steps into an ultra urban environment shaped by concrete and the ghosts of industry. Bringing his plein air practice into the heart of the city, he will take his dinghy up the Clyde to capture Glasgow’s once industrial artery, a rural painter navigating cranes, steel and cold water.

Ross painting Glasgow on the move

Stewart Swan brings his sharp, anthropomorphic aesthetic with paintings that reimagine Orwell’s Animal Farm in the Glesga schemes, where the fight for power plays out with the city’s trademark mix of gallus humour and raw toughness. His characters adopt the swagger and survival instinct of Glasgow’s streets, exposing systems of control with wit, heart and a hint of menace. The familiar fable becomes something closer to lived reality, sharpened by local voice and attitude.

In the studio with Stewart

We are also thrilled to welcome Ti Limnus, a leading figure in Glasgow’s underground experimental electronic scene. During the private view, Ti Limnus will perform a five hour live audio installation, bringing a powerful sonic dimension to the evening and immersing the space in the sound of the city.

This exhibition is a love letter to the words, the streets, the spirit and the beautifully chaotic energy of Glasgow.

I would love for you to join us.

Private View
Friday 28th November, 5 pm to 10 pm (RSVP required)

RSVP

Open Hours
Saturday 29th & Sunday 30th November, 11 am to 5 pm

Venue
The Glue Factory
22 Farnell Street
Glasgow G4 9SE

Panoply exhibition is now open at RHODES, London.

Thank you to everyone who joined us at the opening of Panoply, it was a joy to meet you in person, and a special thanks to the collectors who welcomed my work into their collections. This exhibition has been especially emotional, bringing reimagined highlights from the past ten years into one space… representing the closing of a chapter for me.

I’m deeply grateful to the team at RHODES, who have supported me over the past decade and brought together another incredible exhibition. Click the button below to view the catalogue & read more about the exhibition.

PANOPLY CATALOGUE

Upstairs installation

Downstairs installation

Venus Rising

Girl With The Neon Earring

To mark the occasion, my new book was launched alongside the show. It documents the past decade of my practice and is available now through RHODES Editions. The special collector’s edition includes a limited-edition signed print… click below to view and order.

view & purchase my book

The book comes in three different collectors covers each with a different print.

The exhibition runs until 27th September.

Nick Smith 2015 - 2025 Book is now available

After many months in the making, I’m delighted to share that my book is now available for pre-order through Rhodes Editions. You can explore the three cover versions via the link below… click the link below to take a look.

Purchase link

How many pages?
There are 352 pages.

Is there a standard edition? Without the print?
Yes. Of the 1,000 copies printed, 400 come without a print.

Can you bribe RHODES on my behalf to get a cyan copy with print? :)
Unfortunately not… the books are sold on a first come, first served basis.

Is Mona 2 in there? :)
Yes… all of my publicly exhibited works are included in the book.

Will you be selling just the book at some point?
Yes. Stay tuned for more details.

Is it one book (various colours) or a series of books?
It’s one book, but there are three different coloured covers to choose from: Cyan, Magenta, and Yellow.

If I buy a copy, can I get all three prints? As I am surely your most dedicated fan?
You would need to purchase all three coloured covers, each of which comes with a different corresponding print.

Can I take my book away with me at the opening?
Unfortunately not… we’re doing pre-sales at the opening only. Your book will ship at a later date.

Will you be at the opening?
Yes, I can’t wait to see you there!

Will the books be signed by you?
All 1,000 books are signed.

Is it only art or does it contain some text?
The book includes hundreds of images of my art alongside the stories behind my exhibitions and projects.

Why are there 3 covers?
I originally wanted to produce one cover in Hexachrome green, which is a Pantone colour. The CMYK printing process used for the book has a limited gamut, so it couldn’t achieve the exact shade I wanted. While at the printing factory, I decided to pivot after seeing the raw ingredient colours for the book’s production and instead chose Cyan, Magenta, and Yellow. They look fantastic together.

How long did it take to write?
About eight months.

Is the only difference the cover (& print) or does each book have different content?
Each book has exactly the same content.

I want to see it! Where can we buy it?
You can buy the book through RHODES Editions.

Is it a catalogue raisonné or your life as an artist to date?
It’s both: the book serves as a catalogue raisonné and an autobiography.

What inspired you to make the book now?
Marking one decade as a full-time artist felt like the right moment to take stock of everything I’ve produced.

How did you choose which works to include (and which to leave out)?
I’ve included all works that have been publicly exhibited.

Will there be a Volume 2 or future editions?
There are no plans for a second edition at this time.

What was the hardest part of putting the book together?
Compiling details from my earlier works… my record keeping in the early days was a bit lax.

Is there any content in the book that hasn’t been shared publicly before?
All of the works have been publicly displayed at some stage, but many are quite obscure and may not have been seen by most people. There are also lots of stories in the book that I’ve never shared before.

Will the book be available internationally?
Yes, the book will be available internationally and shipped by RHODES.

Is there going to be a digital version or ebook?
There are no plans for a digital version.

Panoply - Decade one revisited - Exhibition

Panoply brings together fourteen new original collage works, each revisiting themes, moments, and imagery from my past exhibitions. It’s been a decade of making, experimenting, and evolving, and this show is my way of reflecting on that journey so far. 

Panoply is my victory lap. Not a dusty retrospective with old work dragged from storage (you don’t earn one of those until you retire). The name means “a wide-ranging and impressive display” a suitably grand phrase for “bits I like”. Think of it as a tasting menu: greatest hits from a decade, each revisited, reworked, and reframed. A cross-pollination of ideas, scaled up, pared back, or recast through the lens of experience.

PANOPLY
Opening Reception: Thursday 11 September, 6–8pm
Exhibition Dates: 12–27 September
Location: RHODES, 65 Great Portland Street, London
(RSVP essential)

view catalogue

Nick Smith: 2015 - 2025 Coming soon

This is the first comprehensive monograph of my work, covering a decade of image-making, storytelling and colour chips. The book brings together original works, editioned prints and behind-the-scenes reflections from my studio, offering an insight into how my practice has evolved over the past ten years.

With over 350 pages of artwork, commentary and visual documentation, it serves as both a catalogue raisonné and a collector’s piece. Available in three colourways: yellow, cyan and magenta, the cover design nods to my signature chip format.

Available via Rhodes Editions this September.

explore the book

The Great Fish Moved Silently - Print release

When Jaws hit cinemas in 1975, it lodged itself deep in the collective imagination. It was one of the first films that truly got under my skin. To mark its 50th anniversary, I’ve returned to its iconic imagery... not just to pay tribute, but to explore its lingering shadow.

Back in 2018, I reimagined the movie poster in a piece titled You’re Going To Need A Bigger Boat... pixelated and overlaid with Quint’s chilling Indianapolis monologue... that unforgettable moment of stillness in the Orca’s cabin, where the real horror isn’t the shark, but the memory of men in the water, picked off one by one in the dark. 

This year, I began by revisiting that work. At first, I referenced the opening lines of Peter Benchley’s Jaws novel, the passage that set the tone for everything that followed. But as I worked, I kept thinking about the film’s impact far beyond the cinema. Jaws didn’t just frighten audiences... it shifted something deeper. It rewired how generations felt about the sea. It planted fear in the imagination. It had real-world consequences.

So I pivoted. I left behind Benchley’s fiction and fell down a rabbit hole of fact... researching shark encounters recorded since the film’s release in 1975. I compiled 1,247 coastal locations, every one a documented shark incident from the past fifty years... beaches, bays, rips and quays, some of them familiar from my own travels. The work began to transform. The cinematic horror blurred with lived experience. Suddenly, it wasn’t just about a film anymore... it was something closer, sharper, more real.

What started as a tribute became something else entirely. A reminder that the line between fact and fiction is thinner than we think... and that fictional fear still echoes, quietly, along real coastlines... to the beat of that infamous cello.

This new piece is one of my largest prints to date. I'm releasing it as a limited edition of 50... a nod to the 50 years since Jaws first surfaced.

THE GREAT FISH MOVED SILENTLY
Giclée with Screenprinted Varnish on Canson Rag Photographique 310gsm
Signed, Numbered and Dated in Pencil
Edition of 50
111.4 × 90.2 cm
£2,000 + P&P

 Launching 26 June at 4pm (BST)

Register Now

Psycolourgy Colour/Word picker - A new chapter in a shared experiment.

Have a play around on the interface below. Choose a colour that resonates. Enter a word that feels connected to it. Once you hit submit, your contribution is locked in… no edits, no repeats. Only one entry per person please

I can’t wait to see what we make together.

Word Colour Picker
PICK YOUR COLOUR HERE
Thank you for your submission.

Your colour and word have been recorded. I can't wait to see what it becomes.

As part of my 2025 retrospective, celebrating ten years as a full-time artist. I’m creating a collective artwork made up of 550 unique contributions… each one a word and a colour, submitted by you.

This idea began back in 2021 with the Instagram Psycolourgy Project, when I invited 550 people I’d interacted with on Instagram to send me a colour and a word they associated with it. The responses were honest, moving, and often unexpectedly profound. Some gave me a block of colour and a single word. Others sent a photo and asked me to pick a tone. Many shared personal stories alongside their entries… some light-hearted, some quietly heartbreaking. The final piece was assembled chronologically and became a kind of emotional landscape… built entirely from connection, intuition and trust.

This time, things are a little more refined. I’ve coded a new interface that lets you choose your exact shade using a colour picker… something that was a bit more haphazard last time around. But the spirit remains the same.

AFTER HOURS – NEW PRINT RELEASE

LAUNCHING 27 MARCH | RHODES EDITION DROP SHOP

I first pixelated Nighthawks in 2020, breaking it down, rebuilding it, seeing what was really there. Or so I thought. But the colours felt like a guess, like describing a sunset you have never seen. Five years later, I flew to Chicago. Forty-eight hours in and out, straight to the Art Institute, just to stand in front of it and work out what the hell was actually going on.

And the colours? Did not behave. The diner’s glow was not just warm, it was strange. Too bright, like walking into a petrol station at 2am when you are half asleep and questioning your life choices. The darkness outside was deep green, brown, blue, bending under the neon. And the woman’s dress? Not just red. The red. The thing holding the whole scene together.

On the flight home, it was still there, burned into the dark window of the plane. Back in my studio, I pixelated it again, not to replicate it but to capture how it felt. The way it lingered. The way it stayed with me. I amped up the colours to match that after-vision, the version that existed not just on the canvas, but in my head.

After Hours takes Nighthawks apart, piece by piece. Six hundred and twenty colours, each meticulously selected, each assigned a word through Psycolourgy, my process of linking colour to language. Most of the words were scribbled down in real time in Chicago, while I tried to work out what exactly I was looking at.

The title, After Hours, is not just about the painting. It is about how I experienced it. That liminal space between night and morning, between company and isolation, between silence and the hum of the city. Where time slows. Where the world feels paused and weightless.

AFTER HOURS

Giclée with Screenprinted Varnish on Canson Rag Photographique 310gsm
Signed, Dated and Numbered in Pencil by the Artist
Hand-Torn Deckled Edge

Edition of 99
63 x 98 cm
£950 + P&P

Launching 27 March at 4 PM (GMT) through the RHODES Edition Drop Shop.

REGISTER NOW

Nick Smith x Bowie... Charity Auction

I’m excited to share that I’m participating in the inaugural Sound & Vision charity auction, organised by Art on a Postcard, with all proceeds supporting War Child. The brief for this event was to create an artwork inspired by David Bowie's lyrics, and here is my interpretation...

"Electric Blue is a nod to David Bowie’s Sound and Vision, inspired by the lyric, 'electric blue.' After much deliberation, I had a lightbulb moment—it felt like the perfect fit for the exhibition’s brief. I’ve always wanted to create a light box, and this was the ideal opportunity. This piece captures my interpretation of the hue electric blue, with the illumination inviting viewers to experience the vibrant spirit of Bowie’s aura and reflect on the powerful connection between music and visual art.”

Electric Blue
75x50x16cm
Plug in wall mounted lightbox
2024 Original artwork
LOT 26 - Starting bid £3,200

ENTER THE AUCTION

Please note:

  • Sound & Vision  will close as an Individual Lot Auction: each lot has its own closing time and is not affected by bids on any other lots in the auction

  • The auction will close 1st October, the first lot closing at 2pm

  • Buyers Fees: This auction has a fixed buyer's fee of £23 per lot, which is added onto the total when you check out. This cost covers insured shipping for international and domestic orders

 

Sound & Vision will be exhibited at 180 Strand from September 26th to 27th, and the auction will run from September 17th to October 1st.

Note: Hammer price was £3,800

Coming Soon - New print edition 'Bloom'

Bloom is my latest print release, created in collaboration with Rhodes Editions and launching alongside my upcoming exhibition at Rhodes Gallery, Provence. This piece is particularly meaningful to me because it bridges the past and present, weaving together my early encounters with Van Gogh’s art and my current exploration of his influence.

As a child, I was mesmerised by Van Gogh’s Sunflowers at the National Gallery in London. I can still remember sitting there with a yellow pencil, sharpening it over and over as I tried to capture the energy of those blooms. It was my introduction to the world of art, and that feeling of wonder has never faded. Bloom is my way of paying homage to that memory, but also reimagining it.

In Bloom, I’ve integrated the full text of a letter Van Gogh wrote to his brother Theo, dated 9th September 1888. In this letter, Van Gogh talks about decorating his home in Arles, planning to fill the walls with paintings of large yellow sunflowers. He writes with such warmth and care, imagining how his space would be shared with others. His words aren’t just about the paintings—they’re about creating a place filled with light, art, and connection. Here’s a passage from the letter:

"The room you’ll stay in then, or which will be Gauguin’s if Gauguin comes, will be hung with paintings of large yellow sunflowers on its white walls... You’ll see these big paintings of bouquets of 12 or 14 sunflowers stuffed into this little boudoir with a pretty bed and everything else elegantly done. It will be special."

My approach to Bloom isn’t simply to replicate Van Gogh’s sunflowers, but to take his original vision and build upon it. By incorporating the letter into the piece, I want to invite viewers to experience Van Gogh’s work from a new angle. It’s about more than just the image of the sunflowers—it’s about understanding the man behind them, his thoughts, and the world he was trying to create.

This print stands as both an homage and a reinterpretation, much like the rest of the Provence exhibition. In my work, I aim to break down the familiar compositions of Van Gogh’s paintings and reassemble them in a way that adds abstraction and modernity, while still holding on to the emotional core of the originals. With Bloom, it’s about creating a dialogue between past and present, between Van Gogh’s vision and my own interpretation.

As a final touch, I’ve decided to sign this edition of the print in blue—a little nod to the shade Van Gogh used when signing his own paintings, adding a personal connection to the master himself.

I’m excited to announce that Bloom will be available on the dedicated Rhodes Editions drop-site on 26th September at 4pm (BST). I’m looking forward to sharing this piece with you as part of Provence at Rhodes Gallery. It’s a journey through memory, art, and inspiration, and I hope it invites you to see Van Gogh—and my work—through a fresh lens.

BLOOM, 2024

Giclée with Screenprinted Varnish Overlay on Arches 88 310gsm
Signed, Dated and Numbered in Blue Pencil by the Artist
With the Artist's and Rhodes Editions Blindstamp
Hand-torn Deckled Edge

78 x 60 cm
30 3/4 x 23 5/8 in

Edition of 99

£ 800.00

REGISTER YOUR INTEREST

PROVENCE Exhibition at RHODES project room

I’m pleased to announce my upcoming exhibition at the Rhodes Project Room, where I’ll be delving into the paintings and letters Van Gogh created during his final years in Provence.

The exhibition will feature five new original collages, along with a new print. The show opens on September 13th, with a Private View on Thursday, September 12th, from 6-8pm, alongside Morag Caister.

‘Nick Smith’s latest exhibition at the RHODES Project Room in Provence pays a striking tribute to Vincent van Gogh’s iconic works, reimagined through Smith’s signature pixelated colour chip collages. The exhibition, titled Provence, captures the essence of southern France’s picturesque landscapes, evoking the late summer days and vivid hues that inspired much of Van Gogh’s work during his time in the region.’

PANAME exhibition 3rd - 25th May at Rhodes gallery, London

I thought I’d fill you in a little more about my current exhibition at Rhodes as it heads into its final week…

At the age of 16, during a school trip that introduced me to the art within its renowned museums, I fell in love with Paris. That unforgettable experience remains a highlight of my youth. It took another decade before I could return, and since then, I've made countless trips back. With each visit, I eagerly immerse myself in the city's rich tapestry of art, wandering my favourite galleries and museums; a flâneur on a never-ending carousel, with my youthful love rekindled.

After nine years as a full-time artist, I've channelled my passion into curating an exhibition centred around Parisian art. This collection includes works not only physically located in or created by French artists but also pieces deeply connected to the essence of this magnificent city. The aim of this exhibition is to assemble the most iconic Paris-related works in a single space—an endeavour nearly impossible with the actual artworks due to logistical and preservation concerns. Instead, through my reinterpretations, I offer viewers a unique opportunity to experience these celebrated pieces of Parisian art together, in one space.

My recent journey to Paris in January was driven by a singular mission: to carefully select the artworks for this exhibition, forming what has become a personal hall of fame. I studied each piece in depth, absorbing the colours and scale, to accurately capture their essence before reinterpreting them in my studio. Traveling alone, I mingled with locals in bars and bistros, encountering many fascinating folk. It was during one of these interactions that I learned the term 'Paname,' an affectionate slang for Paris. Instantly, I knew I had found the perfect title for the exhibition, and fittingly, it began with a 'P'.

This exhibition is a bridge connecting the past and present through the lens of Parisian art. As an ode to Paris and its iconic artworks, this exhibition reflects my personal interpretation and artistic vision, offering visitors an immersive experience into the art that has shaped and inspired countless generations.

You can view the exhibition catalogue by clicking the button below. All enquiries to be directed at info@rhodescontemporaryart.com

Paname catalogue

January in Paris

PANAME solo exhibition opens at Rhodes gallery, London

Last night, my twelfth solo exhibition titled "Paname" opened at Rhodes' new gallery space, located at 65 Great Portland Street in London. The fifteen pieces in the collection are displayed across two levels in three rooms, and they look fantastic in the newly renovated gallery space. Sam, Lauren, and Ruby did an excellent job curating the show and offered a warm welcome to everyone who attended the private view.

The evening was a joy for me, as always, because I finally got to see everything displayed together and emerge from my self-imposed state of artistic hibernation in my studio tucked away on the west coast of Scotland. It was delightful to meet both new and returning collectors, as well as art enthusiasts, over the course of the two-hour private view and chat about the new work. Here are some photos from the night.

Paname runs till Saturday 25th May

Opening night at Bonhams x Nick Smith in support of the Trussell Trust

On the evening of Monday, 28th April, I had the privilege of experiencing one of the most fulfilling and exciting nights of my year… a takeover of "Hot off the Press" at Bonhams' flagship auction house on New Bond Street, London. In collaboration with the Bonhams team, led by Carolin, and our Rhodes team, spearheaded by Ruby, Sam, and Lauren, we unveiled two new prints, with proceeds going towards the Trussell Trust, which manages over a thousand food banks across the UK.

The turnout was spectacular, with over 300 guests attending the event. We raised tens of thousands of pounds for a charity that is very close to my heart and deeply relevant on many levels.

Here are some pictures from the event featuring the key players…

Nick Smith x Bonhams in aid of The Trussell Trust Charity

I’m delighted to announce my partnership with Bonhams auction house, where we will be unveiling two limited edition prints and two original collaged artworks. These pieces will debut at the 'Hot Off the Press' event, taking place at Bonhams' prestigious New Bond Street location. The event begins on Monday, 29th April, with an exclusive, invitation-only evening where the prints will be offered on a first-come, first-served basis. The exhibition will then open to the public throughout the week, culminating in a live auction on Wednesday, 1st of May. At this auction, the two original collaged artworks will be sold, with all proceeds going directly to The Trussell Trust, a remarkable charity supporting food banks across the UK.

Learn more about the event

‘ART’ Print limited edition of 33 - Available at the Hot Off the Press event on 29th May

‘LOVE’ Print limited edition of 33 - Available at the Hot Off the Press event on 29th May

I chose to partner with the Trussell Trust because of their impactful and transparent approach to addressing food insecurity in the UK. Their work not only provides immediate relief to those facing urgent hunger but also pursues long-term solutions to end the cycle of poverty. This dual mission resonates deeply with my belief in the power of art to not only reflect society but also to actively improve it. By aligning my art with the Trussell Trust, I hope to amplify the message of compassion and support through creativity, ensuring that each piece sold not only adds beauty to the world but also contributes meaningfully to a future where no one has to worry about their next meal. This partnership represents a shared vision of empowerment and change, one artwork and one meal at a time.

Learn more about the Trussell Trust

Lot 11 ‘ART’ Going under the hammer at Bonhams, Hot Off the Press - 1st May

LOT 11- ‘ART’

Lot 12 ‘LOVE’ Going under the hammer at Bonhams, Hot Off the Press - 1st May

LOT 12 - 'LOVE’

I chose to create these works, titled 'Love' and 'Art': Inspired by Warhol's iconic flower prints, these pieces are reimagined with a modern, pixelated style to reflect the vibrant spring season—a time of renewal. Each pixel, infused with text from his memoirs, adds depth by linking artistic expression to societal issues. These artworks connect beautifully with the Trussell Trust’s mission to provide immediate and long-term support for those facing food insecurity. 'Love' embodies the charity’s compassionate community efforts, while 'Art' highlights the creativity needed for lasting change. Through this series, I aim to support the Trust’s vision, where every artwork sold helps build a future without hunger.

You can discover more about my collaboration with Bonhams by clicking the link below…

My interview with bonhams

Psalm 65 & 104 print editions - coming soon.

I’m pleased to announce the latest additions to my Psalms series: Psalm 65 and Psalm 104. This new chapter, Psalms 2.0, embarks with the iconic Heinz Baked Beans and Heinz Cream of Tomato Soup, transforming these everyday staples into limited edition prints that elevate their status to the divine. Building upon my 2018 Psalms series, which paid homage to ten beloved condiments through art intertwined with psalm-like adoration, I continue to explore the sacred ties between art, sustenance, and the devotion we hold for these culinary constants.

Selecting Heinz Baked Beans and Cream of Tomato Soup for Psalm 65 and Psalm 104 not only highlights their status as pantry staples but also reflects the deep loyalty to the brand, complemented by the psalm-like text woven into the artworks that venerates these essentials. This series transcends visual appeal, elevating these items from mere food to cherished cultural icons and celebrating their cultural significance, comfort, and the brand loyalty they inspire. The approach encourages viewers to recognise these everyday items as integral, enduring parts of our lives and homes.

‘PSALM 65 & 104’

Giclée with Screenprinted Varnish on Canson Rag Photographique 310gsm


Hand signed, numbered and dated by the artist in pencil

Edition of 40

59.4 x 42 cm

SOLD OUT

Print making interview with Rhodes Editions

I recently sat down with Ruby from Rhodes Editions for a deep-dive into my printmaking. You can catch up on it here.

Nick Smith signing his recent release 'The Bathers' (2023)

Could you tell us why you decided to start publishing prints of your work?

I’ve always been fascinated by making prints. I started out by making them myself at Print Club in London; there were variations in each print which kind of made them originals. As my career as an artist advanced, I wanted more uniformity and higher production numbers, so I started using Harwood King Printmakers… it was time to bring in the pros!

You use a mixture of Giclée and Screenprinted Varnish on your prints. Could you tell us why you decided to use this method?

In an ideal world, I’d love to use only screen printing to produce my prints. I appreciate the methodical process of applying ink to paper and the craft of slowly building up layers of colour. However, due to the sheer quantity of colours and subtle tonal variations, Giclée printing is better suited to creating my prints. I do add a clear varnish over the colour blocks which is screen printed on. This makes the printed colours pop.

What do you find is the downfall of this method of printing?

There aren’t any; I consistently get the results I am after, but it’s taken a while to get to that stage. We’ve definitely had some hurdles along the way, but they are all ironed out now.

What is the most challenging part of producing prints in general?

I couldn’t have chosen a printer further from my studio if I tried—550 miles door to door. Travelling there for proofing and signing presents the biggest challenge, yet visiting the Harwood King print studio is always a delight. It allows me to get hands-on with the production of my prints, and I invariably discover something new with each visit.

How do you decide on the images and text that you use?

I typically make prints from my original works that are in high demand and translate well into print format. The text content, based on the image, complements or subverts it. There’s always a commentary to be made, and the text is my platform for this conversation.

What is your favourite print image you have produced?

It's impossible for me to choose just one favourite print. The Blue Van Gogh portrait holds a special place in my heart for its vibrant colours and sentimental value—it was among the first major editions I released at the beginning of my career in 2015. Equally cherished is the Heaven print, a collaboration with Foilco that utilised a specialist technique with the Heidelberg press and heat-transferred foil, taking roughly a year to perfect. The way this print's appearance continuously shifts with the lighting is mesmerising, truly phantasmagorical. Yet, this beauty comes with its challenges, particularly the foil's susceptibility to scratches, necessitating white-glove handling.

 


Nick signing his editions of 'Peter Getting Out of Nick's Pool' (2022)

Do you like collecting prints? If so, could you tell us a bit about your collection?

I do like to collect prints! The journey began with a simple piece of advice I was given: start with prints and eventually move on to originals. True to that path, I've acquired a few originals over the years, but my passion for collecting prints has never waned. My tastes have evolved significantly, influenced by various life changes—from relocating from an urban flat in Peckham to a rural farmhouse on the West Coast of Scotland, to the joys and considerations of family life. These experiences have gently shifted my aesthetic preferences, necessitating a more inclusive approach to selecting art, keeping in mind the shared spaces and sensibilities of my family. My latest acquisitions are the gold leaf Lino Lago’s and Cat Spilman’s which my family adores.

For me, the golden era of print collecting was 2010 - 2014. I used to work next to the White Cube in Bermondsey; I remember being able to nip in on my lunch break and fall in love with some of the editions they had readily available and make the purchase. Some of these editions now command tenfold price increases on the secondary market. I had to let a few go over the years, but the ones I still own hold a special place in my collection and personal history.

Do you have any advice for amateur artists and printmakers looking to make it in the art world?

Make your art unique; the best situation you can be in is where someone looks at your work and knows it’s unequivocally by you. That’s not easy, but it's a great way to get known and ultimately to lead to a successful career in art.

What’s the biggest lesson you have learned in the 10 or so years you have been making prints?

Once you find a technique of printing that works for you… perfect it. For me, this involved developing a close relationship with my printer, Harwood King. I look back at the first prints we were creating in 2015, and we’ve come a long way. The improvements have been small but incremental over the past 9 years we’ve been working together. About 5 years ago, we started using a UV hardened varnish that smells like marzipan. I never thought the smell of a print would matter, but it adds to the uniqueness of my editions.

Do you have any images that you would love to release as a print in the future?

I do, but I’m pretty cagey about sharing my plans for the future.

How do you think your previous work as a designer has influenced your work as an artist and printmaker?

Transitioning into art, my design background has made me a more practical artist, instilling a deep appreciation for the power of presentation. Design, at its heart, revolves around the effective communication of ideas, often requiring a balance between creative vision and the practical demands of business clients. This experience has been invaluable in guiding my artistic journey, teaching me to navigate the complexities of an evolving career. In my practice, I approach each piece as if it were a response to a self-imposed brief, similar to how a design project begins. My solo exhibitions are conceived as cohesive series, each exploring a distinct theme. The way these series are presented—through careful framing, hanging, and the overall setup—is critical, aiming to fully immerse viewers from the moment they step into the space. These principles, honed during my time in design, have become fundamental to the way I create and share my art.

After a landmark year in 2023, what are your aspirations and plans for your art in 2024?

I'm eager to see the ongoing development of my work. Presently, I'm juggling four projects, including my upcoming solo exhibition with Rhodes, set to open in May. It's clear that 2024 is on track to be just as bustling and eventful as the last year. My focus is on exploring new concepts and deepening the engagement with my audience. I'm excited about the opportunities and challenges that lie ahead, and I'm committed to making 2024 a year of significant artistic growth.

Paracosm - "Pixelated Reflections on Van Gogh"

Paracosm

/ˈpærəˌkɒzəm/

noun: A detailed, imaginative world created within one's mind. 

I'm delighted to present 'Paracosm', a curated selection of five pieces, at Rhodes Contemporary Art Gallery in London. The exhibition will be on display from November 3rd to 25th, coinciding with Danny Gretscher's highly-anticipated solo exhibition. Please join us for an exclusive private viewing on Thursday, 2nd November, from 6 to 8 pm. Kindly note that RSVP is mandatory. I look forward to seeing you there.

"Paracosm" melds Vincent van Gogh's vibrant world with the simplicity of pixels. My adaptations reduce his works to their essence in blocks of colour. In viewing them, our minds instinctively reconstruct the familiar, diving into cognitive landscapes to piece together memories of Van Gogh's originals.

The title encapsulates this introspective journey. Confronted with these pixelated renditions, we're challenged to bridge the gap between present abstraction and remembered richness. While subtle tactile layers are introduced through collaged paper, the essence remains: our mental quest to reconcile the pixelated with the vivid memories of Van Gogh's masterpieces.

Join me in "Paracosm," where art meets memory, urging you to rediscover Van Gogh through the interplay of pixels and past recollections.

Vincent van Gogh:
"I dream my painting and I paint my dream."

Nick Smith:
"In the realm of 'Paracosm', I reconstruct Van Gogh's dreams, challenging us to remember them through our own."

view the Catalogue