EDWARD
Socialites, models and pop stars made up the stream of humanity that flowed through Edward Bell’s Earl’s Court basement in 1981, the year Marcus Thompson shot his first cinema short entitled ‘Edward’. Half fantasy, half reality, the thirty minute film examines Bell’s methods, influences, lifestyle and work and was shot on 35mm in London and the South of France.
Bell’s paintings are stylish and fresh, and there is an immediacy that flows through the many paintings featured in the film, complimented by eminent record producer Stephen Lipson’s haunting soundtrack. The film was premiered at BAFTA and went on to represent Great Britain at Filmex, the Los Angeles International Film Festival. The negative is now stored in the National Archive.
“I think when I was younger I used to spend a lot of time going to exhibitions and galleries because I thought I ought to, without getting much of a kick out of it. And then the first people that really interested me were Andy Warhol and Hamilton. They were early influences, but recently since I’ve actually been painting myself, I find people like Van Dyke and Holbein and, well, Rembrandt more interesting.”
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“I tend to find it easier to relate to one person at a time. If there’s more than one person in the room, I’ll retreat to the position of a voyeur. I think this is reflected in the paintings because I tend to paint one person at a time. I tend to paint one picture at a time, and it’s like continuing a one to one relationship. If asked, for instance, to photograph a band, I’ll photograph each member individually and then montage the results together – in that way I get the one to one rapport with each individual.”
“As an illustrator, regardless of what subject matter one is illustrating, in retrospect one can discover certain images which crop up again and again in certain permutations. One of these images for me was the Greek statue – classical images, fragmented statues, these perfect proportions in a state of mutilation… this mystery”
“I’m discovering the limitations of pastels, they have this dry quality – oils have a more living quality, especially when it comes to painting flesh. So I’m starting to experiment with oils, but it’s not something that happens overnight – I don’t know where it will lead…”
With the success of his design for David Bowie’s “Scary Monsters” album sleeve, Bell became an extremely sought-after portrait artist, leading to commissions from stars such as Elton John and Hazel O’Connor. The film is a rare insight to a contemporary artist’s life, made all the more poignant by the fact that whilst Edward survived the heady period, many of those that drifted through his studio did not.
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