Bright lights, fast rides and an atmosphere like no other – Hull Fair fans are already counting down the days to the start of the fair.
While the thrilling white-knuckle rides are the main attraction for some, others go to soak up the atmosphere, enjoy the family activities or feast on everything from burgers to brandy snaps, candy floss to churros. But for two brothers from Beverley, it’s the brush strokes and vinyl stickers which have attracted their attention.
After years of going to the fair as children and then teenagers, Keaton and George’s interest in the artwork on the rides was brought to the fore after Richie Culvers DJ set on the Albert Evans waltzers two years ago, as part of the UNTHINKABLE film festival events.
Keaton and George Brignall McDougall decided to document the artwork on the rides, returning by day – when the fair was quiet – to take photographs, which they have compiled into a book: Hull Fair: Art on the Ride. The book has more than 400 photographs, some of which will be on view in a new exhibition of their work at Pier Street pop-up in Hull from Friday 19th to Sunday 28th September. There will also be a book launch on Friday 19th September at 6:30pm. All are welcome.
Keaton said: “We hope the book will add to people’s enthusiasm for Hull Fair, encouraging a deeper appreciation for the craftsmanship found there and more respect for the incredible showmen, ride operators and artists who have created it. We have dedicated the book to them.”
George, who highlights some of the artwork which bears a resemblance to celebrities of the past 20 years or so, said: “Leering over all this chaos at the fair, are the figures of people you think could have been famous 20 years ago. The faces are uncanny, a near resemblance, a style of art not seen anywhere else. Its purpose is both commercial and experiential, a mix of fear and joy.”
Keaton added: “This art has never been documented and catalogued to this extent before. The archives of the previous era of fairground history are fairly limited. There is so much we can learn about cultural changes by looking at the artwork as it develops. The work on the rides is frequently changed with previous iterations painted over or broken up and sold off. The book should serve as a historical record and immortalise this period of fairground art work.
“As a creative duo this is our first printed project together. We hope to expand a larger body of work around Hull fair over the coming years.”
DJ I.Jordan will be playing a set on Albert Evans Waltzer at Hull Fair on Friday 10th October. Keaton, who is also Creative Director for the UNTHINKABLE film festival, said: “The festival has a reputation for its strange stories and experimental content – and that is something we will continue to celebrate. We are delighted that we’ll be at Hull Fair again this year.
“The fair has a special place in many people’s hearts – and the Waltzers DJ set adds another interesting dynamic to both the fair and the festival.”
The exhibition is an immersive photography exhibition highlighting the best of the artwork on the rides. It will feel as though the ride has paused midway through and your able to take a step out and admire the work.
Q&A with the photographer
Is the artwork at Hull Fair continuing to evolve?
Keaton: “The art at the fair continues to keep up with the times, recently with the use of vinyl stickers which allows the cheap, quick application of artwork and the decline of hand craftsmanship. Like most other products of our current time period there is no second life to these giant stickers although panels of past rides can frequently be found decorating the houses of those with an appetite for amusement or stuffed into collections – a relic of the past.”
Do you each have a specific example of Hull fair art that you admire?
Keaton: “It’s really hard to pick a favourite as there is so much variation in both style and content. Albert Evans’ Waltzer has a special place in my heart. There’s so much history on that ride with some of the pieces seeing over 60 years worth of screaming faces. The wear and tear adds an extra level of depth and you can see many stickers and unusual marks left by its visitors. That – combined with the rides’ incredible lighting and portraits of figures from horror films – creates a mind-blowing effect. I’ve had the pleasure of talking with Albert and he takes so much pride in his work and the ride and you can really see and feel it.”
George: “I particularly enjoy the airbrush work, especially the unusually distorted faces of people you think could be famous. There’s a ride called Miami Trip 3 and on it someone that looks a lot like Eminem. His face is slightly squashed and elongated and I can’t tell if it is supposed to be him or someone else. I think it’s genius, an accidental masterpiece. It’s the most amusing puzzle that I find myself unable to look away from.”
Are the artists known?
Keaton: “The artists are little known and not much respected in the art world. There are a few big names such as the late Paul Wright whose work you can see in the intricate details of the Albert Evans Waltzer. Most of the artists are completely unknown – the details lost over time through the sale of the rides and the casual adding of a face here and a face there. In making the book, we deep-dived into our research to find the names of every artist but in the end there were quite a few rides which no one knew who had painted them. It’s to the artist and the showman this book is dedicated.”
Who has supported this project?
George: “We have received a lot of support from the National Fairground and Circus Archive – in particular senior archivist Arantza Barrutia, who has written an incredible in-depth history about art at the fair starting at its inception with photos used from the archive right up to current day. There’s also a brilliant introduction text from Graham Downey, Chairman of the Fairground Association of Great Britain, reflecting on the evolution of the fair within the UK and emergence of Hull Fair within it. We are extremely grateful to have worked with both of these individuals as we’ve learnt so much from their wealth of knowledge. It would have been impossible to make the book without the open arms of the showman themselves who welcomed us onto their rides and answered any of questions where they could. This is their life’s work which we merely documented. Without them and the artists they employ none of this would exist.”
Tell us about sponsorship and partners
George: “It turns out making a book is incredibly expensive! There’s no way we would have been able to do this without the support of GF Smith who very kindly granted us free paper for every edition of the book. They have also gone onto support us with other costs in aid of supporting our aim of making the book affordable to a Hull audience. We were also granted free access to a beautiful typeface from a local type foundry called Fettle which again has made the book cheaper for the consumer and for this we are very grateful.”