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SPECIAL EDITION
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STANDARD EDITION
LINES, the first monograph on Shantell Martin charts her career including early pieces such as “ Dear Grandmother” a 2003 collaboration between the artist and her Gran, large-scale murals, commissions and collaborations with museums, institutions and fashion brands. It also features an essay by Katharine Stout the Deputy Director of the Institute of Contemporary Arts in London and an interview with Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries in London.
SPECIAL EDITION
A Special Edition is available in a limited run of 200 copies, each containing hand drawn original art by Shantell Martin on the front and back cover so that each Special Edition is unique and transcends the limitations of standardized publication and becomes in and of itself, a piece of art. As well as an extension of Shantell Martin’s philosophy and purpose to bridge the gap of accessibility between collectors and art; using an everyday item, such as a book.
FOLLOW THE LINE AND SEA WHERE IT TAKES YOU. DON'T HIDE IN THE CORNER. MAKE AND SHARE. FOLLOW THE LINE AND SEA WHERE IT TAKES YOU. DON'T HIDE IN THE CORNER. MAKE AND SHARE. FOLLOW THE LINE AND SEA WHERE IT TAKES YOU. DON'T HIDE IN THE CORNER. MAKE AND SHARE.
THE ESSAY
Hans Ulrich Obrist: The last time we spoke you explained to me that you have this system, ‘methodology’ is maybe the word that you used, where you draw very fast – speed drawing – with a line that jumps ahead. Then there is a second layer, where you look at the shapes being created and fill them out. How did you come up with that system?
Shantell Martin: It came over time. The great thing about making art is that you have the time to reflect back on it. I’ve found that people who draw tend to inflict rules on themselves.
THE INTERVIEW
Hans Ulrich Obrist: The last time we spoke you explained to me that you have this system, ‘methodology’ is maybe the word that you used, where you draw very fast – speed drawing – with a line that jumps ahead. Then there is a second layer, where you look at the shapes being created and fill them out. How did you come up with that system?
Shantell Martin: It came over time. The great thing about making art is that you have the time to reflect back on it. I’ve found that people who draw tend to inflict rules on themselves.
