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ARTICLES Art Trends
'Art Trends' is an easy-to-use Eyestorm encyclopaedia of the hundreds of articles and most popular works; giving a in-depth insight into the artworks we represent.

We are working on a catalogue raisonné spanning a quarter of a century, showcasing the incredible works released exclusively by Eyestorm between 1999-2024. 		It is the story behind an artwork that often takes it from intriguing to all-absorbing. For five years, Eyestorm have excavated into dusty notes, interviews and odd photographs going back a decade or two. And we are not yet done.

Below are the stories that uncover artists practices, reveal the thoughts behind a print edition - and those little anecdotes that too rarely get told.
Recommended Reading
To Sophie Calle, there is always a story to be told. It is these stories that, as they unfold, have positioned Calle as one of the most idiosyncratic and influential artists to have emerged in Europe over the past five decades. Her enigmatic narratives have proved compelling to both general and academic audiences alike, whether she showcases the evolvement of dating ads placed in a hunting magazine over a period of 125 years; or simply decides to hang out her personal - and others - emotional dirty laundry. The print editions, ‘Coffee Cup’ and Red Shoe from 2000, represent two of Calle’s photo-text journeys. The latter, exposing details of one last heist with her friend Amelie.
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A woman neatly adjusting her pink knickers and one wearing nothing but a pair of rose-coloured shoes. The girls circling Lucie Bennett’s artistic entourage stepped onto the scene twenty years ago as young, confident and empowered debutantes. Over time, Bennett has allowed her subjects to evolve and become more sophisticated in both expression and style, never abandoning their youthful and graceful appearance as if untouched by the years that have passed. The artist’s first screenprinted editions from 2005, such as Pink Knickers, Rose-coloured Shoes, Airforce Blue and the ‘Felt Tip Girls’, are five print editions that epitomise part of Bennett’s early practice.
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A keen spirit of excitement, adventure and a bright future, Jacky Tsai sets a stage of courteous matchmaking between graceful apsaras and decisive superheroes. For twenty years Tsai has time and time again presented works that are powerful and rich in symbolism; a vision that in Fly Me to the Moon goes beyond characters seeking to escape a white lotus tree, enticed by the luminous void in precious gold, refined palladium and enchanting rose-gold. Created as three screenprinted editions, the series exemplifies Tsai’s visual exchange between two cultures.
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Recommended Reading
Richly decorated clay vases and modern-day chronicles woven into tapestries, Grayson Perry’s visual realms are a dizzying blend of cryptic slogans, bohemian ideals, exotic pornography, and class-based satire. Some works are an illustrative commentary on his life, others capture the lives of his alter-egos or present open-ended delusions. Guided by his intuition, he never followed the tide of his contemporaries in the eighties, instead he chose mediums that came natural to him; a choice that would prove to be a gift and won him the prestigious Turner Prize in 2003. One of the earliest editions, Love Plane, from 2000 is the artist’s spiritual and procreational journey on smooth satin which sits perfectly within the artist’s practice.
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Raising awareness about issues of greater importance, Stanley Donwood achieved acclaim as a young graduate through his work; whether it was art, books or music. The early association with the rock band, Radiohead, paved the way for a wider public recognition and has allowed Donwood to stay committed to his activist beliefs, developing a genre of graphic landscape art unique to him, often charged with messages. From the archive of works for the studio album ‘Kid A’, Avert, Borealis, Realistic and Teeth feature amongst Donwood’s earliest print editions; four editions starring at the ‘Cover Up’ exhibition at Eyestorm in the spring of 2007.
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Presenting three French girls into her cast of savvy and confident females, Lucie Bennett introduced the ‘Naked Burgundies’ on a London spring evening. The strong feminine sexuality - one that confronts the audience - is apparent in many of Bennett’s work; at other times her female subjects are portrayed in a private moment of contemplation, seemingly oblivious to the viewer’s gaze. Bennett’s controlled, sensual lines and her conscious use of a refined burgundy palette in the Burgundy nudes, embraces Delphine, Marianne and Romy in flattering warm, dark red hues.
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