Cream of The Crop Podcast

Thank you Vicki Lesley, Justin's Dailies, and many others for tuning into my live video with the magnifcent Eleanor Anstruther! An imperect AI Summary:The conversation, which featured Eleanor Anstruther and the artist known as SLART, covered topics ranging from the origin of a significant photograph to the details of SLART‘s recent exhibition and his artistic philosophy in the face of bereavement.The Unposed Photograph and Matt BerryThe chat began by discussing the black and white photograph used as a thumbnail or graphic, which Eleanor described as “dark pensive and sad,” and “beautiful”. SLART shared the photo’s backstory: he took it in a passport photo booth because he had messed up the writing on an exhibition flyer he intended to give to Matt Berry. The final, unposed shot—which Eleanor noted looked “incredibly posed” and like a “fantastic art piece”—was taken accidentally because the booth snapped the picture immediately after the money was put in, before SLART was ready. SLART later added a blue filter to the black and white image.Regarding Matt Berry (musician and actor), whom SLART had wanted to invite to his exhibition, SLART did manage to give him the flyer, but was “gutted” when Matt Berry didn’t attend. SLART reflected that while Matt Berry was “really charming” during a talk, he “lost the charm a bit” when meeting one-to-one, speculating that this was understandable when signing records for 150 people separately.THE moment I handed over the flyer. The Memento Vivere ExhibitionSLART‘s show, Memento Vivere, was held in an underground crypt below St Pancras Church. SLART described the exhibition as “amazing” and “very moving”. He noted that small mishaps, such as forgetting the 200-year-old key to the crypt one day, made the overall experience more interesting. The space itself was initially intimidating to SLART, who worried about filling the large crypt. However, it was ultimately “perfectly spaced out,” allowing viewers to follow a journey through the tunnels.The exhibition featured 34 works in total, exceeding the original plan of 24. These included his fistula collection, which documented his kidney failure, as well as several modern momento mori paintings. SLART noted that having a show deadline helped focus his mind, allowing the ideas to flow and clarifying the creative process.Artistic Process, Style, and InfluencesSLART discussed his journey in art, noting he only started painting in 2019 after a 20-year break. He found his return to art—prompted by reading a post from Thomas J. Beavenon about reconnecting with childhood abilities—to be “life affirming” and a recovery of his essence. He felt the delay allowed him to accumulate life experiences, giving him “a lot more to say”.Key elements of SLART‘s artistic philosophy and development include:• Action over Fear: Despite being “crippled with self-doubts” and experiencing nervousness every time he pursues a project, the passion to get his work out “is bigger than the fear”. He is a living example of “just doing it anyway”.• Style Development: His style has become “freer” and more authentic. He actively moved away from attempting realism or inventing a contrived style after a mentor, Cros Crosley, advised him to return to his “naive art style”.• Viewer Completion: SLART recognizes that the viewer completes the work and determines what it means to them, noting that artists cannot control interpretation. He compares releasing art to “producing children and setting them free”.• Moving On: SLART has developed a good practice of knowing when a piece is finished and moving on to the next project without dwelling, which he considers a “sweet spot”. He is not afraid of running dry because he believes the well of ideas is universal.SLART expressed affinity for artists who pursued their own voice, mentioning Picasso. He expressed love for David Shrigley‘s free, non-realistic style. He has a real affinity for Jean Dubuffet, who started taking art seriously late in life (at age 41). SLART also discussed the importance of depth in art, referencing Rothko and Francis Bacon, noting that he found “the most incredible calm” in front of Bacon’s paintings because the artist “is showing the inside”.Bereavement and HumourA poignant detail of the exhibition was the death of SLART‘s older brother, Gary, who died of liver failure the day before the December 2023 exhibition. Gary’s struggles stemmed from trauma experienced during the first Gulf War. SLART chose to continue with the show and was honest with visitors.SLART painted straight away after the death. His work responded by depicting a figure drinking beer and having war trauma flashbacks. He also used humor by painting a memory of himself and a friend stealing Gary’s porn magazines as a child, showing Gary looming over them. SLART emphasized the necessity of incorporating humor into his work, as you have to “laugh about things” even concerning death. SLART also noted that Gary had kept his illness secret from the family until he died.Future PlansSLART confirmed that he is planning a documentary that will document the process of using art to get through kidney failure and bereavement, as well as the exhibition process. He noted that he has some video editing skills and intends to “give it a go,” focusing on telling his story rather than creating a “perfect documentary”.Eleanor also mentioned that SLART has a catalog of unsold work available on his Substack. See below.Memento vivere has concludedSome of the artworks are still available to purchase. To view our catalogue and price list, please find the links below.* Memento Vivere Catalogue* Memento Vivere Price ListGet in touch if you have any questions or would like to make a purchase.Subscribe for more adventures of an Outsider Artist… This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

The Power of Expression: Finding Our Voices Through Art and Writing—Despite Social Anxiety | Thank you Karma’s Vision, Nimita Kaul, Amy Butler, Sandolore Sykes and numerous others for tuning into my live video with Sean Bennett! Join us for our next live video in the Substack app.Remember to check out SLART’s upcoming London Art exhibition www.cryptlondon.art and Sean Bennett’s writing coaching www.writeandpint.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

www.cryptlondon.art | Memento Vivere | SLART and Gabriel Fine Arts | Crypt Gallery, London | 7-18 September 2025 | Opening Night 6 September 6-9pm This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

https://slart.substack.com Thank you Stephanie Graham (she/her) 🪩, Sandolore Sykes, Alexander David Welch, Merny, Sissitrix, Michael Young and others for tuning into my live video! Join me for my next live video in the app.Here’s a really bad AI summary of the video.* SLART introduces the topic by discussing their most emotionally challenging piece of art, titled "Bloodlines," created in 2022.* "Bloodlines" was their first large-scale oil painting, measuring approximately 3 foot by 4 foot (96.52 cm by 121 cm).* The creation of "Bloodlines" occurred after SLART started dialysis following kidney failure. The reference photo was a selfie taken during their first dialysis session on the 16th of December 2021.* SLART felt significant mental blocks and fought with their mind, doubting their ability to create such a large piece.* The process of painting "Bloodlines" was a cathartic release for SLART.* Their psychologist advised SLART that painting was a good way to process and reflect on their health situation while being off work.* Due to being unwell and undergoing dialysis, SLART only had enough energy to paint for a couple of hours each day in their freezing studio in January with no heating.* SLART faced technical challenges, particularly with blending oil paints for the eyes and shadows, as they are self-taught.* SLART received mentorship from Caryn Koh, another artist in their studio, which helped them overcome technical difficulties and reinforced their belief in their abilities.* SLART views "Bloodlines" as a reminder of a new beginning in their art journey and health improvement.* SLART shifts to answering a question about what inspires them lately, mentioning drawing with their 2-year-old daughter and the unfiltered creativity of children.* SLART reflects on their aging 17-year-old dog and how his vulnerability has made them appreciate life and being present.* SLART acknowledges the importance of promotion and online presence but also the need to be present with family and not let work constantly intrude.* SLART answers a question about being present online, clarifying their efforts to connect authentically and help other artists on platforms like Substack.* SLART discusses their experiences with the toxicity of being an online artist, including negative comments on their work on Facebook and Substack, and how they try to manage their emotional reactions.* SLART reflects on the nature of negative comments, suggesting they often reflect the commenter's own feelings rather than the artist's work.* SLART answers a question about their Zen project, a global collaboration involving self-printed magazines (zines) with contributions from over 100 artists.* The Zine project has progressed to the first draft stage with around 80 pages formatted, and the next steps involve editing and printing.* SLART describes the Zine project as something that formed organically and has its own momentum.* SLART answers a lighthearted question about their favourite type of biscuit, choosing a chocolate hobnob.* SLART shares their approach to Instagram, trying to use it more for interaction and sharing other artists' work rather than just self-promotion.* SLART briefly touches on the option to block people on Substack as a way to create a peaceful online space.* SLART notes that hurt people hurt people, reinforcing the idea that negative online interactions often stem from the commenter's own issues.* SLART makes a comment about a participant in the chat having a go at someone on Substack and realising it was because they weren't feeling great.* SLART discusses the tendency for one's internal state to influence how one perceives others.* SLART provides an update on the progress of the Zen project, including the number of applicants (over 100) and the current stage of development (around 80 pages in the first formatted draft).* SLART sets a personal deadline of the next two weeks to get the Zen project ready for the next stage (editing and printing).* SLART reflects on the effortless nature of some creative projects, contrasting it with times when it is more challenging.* SLART says goodbye and concludes the session as someone else enters the meeting room. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Check out full episode here https://slart.me/deanSteve’s (SLART) story fascinated me. After a 20-year break from drawing, he returned to art in 2019 and has since completed 25 exhibitions, including Swindon's largest mural that moved local residents to tears. Steve's journey shows what's possible when you think differently about reaching people with what you do.We explored how creative people can bridge art and commerce without compromising their vision. From restaurant transformations inspired by London's Sketch to creating permanent outdoor galleries, his shared his approach to making art more accessible is an approach from which many of us can take something.* The episode concludes with ideas on creating innovative art projects, like permanent outdoor exhibitions, and the transformative potential of art in both individual careers and community development. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

This is based on the post on how the Redcliffe Street Mural in Swindon came to be. https://creamofthecropbyslart.com This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 42 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 40 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Stephanie Graham asked me in my chat:1. Why Art? What made you decide, you know what I'm going to be an artist. 2. What made you say, you know what I’m going to be a professional artist.I attempt to answer whilst driving in this recorded live video.(Shout out to Thomas J Bevan for the inspiration).Join me for my next live video in the app This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 39 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 38 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 37 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - Hey, I’m the new Jean Dubuffet. I write twice weekly about my art practice and share stories about my transition from a day job to being a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com

Read the post at https://slart.substack.com - World-Class Artist, SLART's Weekly art practice: Week 29 - I’m the new Jean Dubuffet. I write (at least) twice weekly about my art practice and share stories about the journey of moving from a day job to a full-time professional artist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.creamofthecropbyslart.com