TR

2016

Adam Bridgland who is one of the founders of the screen print house Jealous in 2008, has used a diverse range of materials and working methods to pursue an incisive and often witty exploration of distinctively British sentiments, externalising the underlying sense of loss and nostalgia that permeates our memories since graduating from the Royal College of Art in 2006.

Could you elaborate on your role as an artist vs. the screenprint studio? How did your artistic practice coincide with the idea of opening up such a place?

For me I have always tried to keep my roles as artist and studio manager separate and this seems to work. However it does merge at some points with each one informing the other. We are now in our 8th year as a studio and it continues to expand. I came on board a month after the idea of Jealous was born after a chance meeting with the director Dario. He is this unbelievable energy that we all gravitate around. I believe we are creating something fresh that pushes boundaries in the print and art world. That has always been important in my practice and to manage a team that also believes this is very exciting. Running a studio and being an artist is hard work though.

Could you tell us about the process and the way things work at Jealous? How are the artists selected?

We choose to work with artists who create something fresh, that we believe says something new, often funny and distorted about the world surrounding us. They are pieces that need to be seen, particularly in the case of our prestigious Jealous Prize or portfolio Jealous Needs You, we offer a new audience for the practitioner. People say there is a Jealous look to the artists we invite to work in the studio but we are never really aware of this, it is one big melting pot that seems to have this cohesion. Perhaps our style is to have no defined style?

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