Mark Titchner

Following on from yesterday’s album announcement I’m very happy to share the cover artwork that I’ve been working on for the new Miracle album ‘The living likeness of my electric daemon’ from amazing duo of @danielosullivan_musick and @enhancedhumanoid . Released on @relapserecords on June 26th

MIRACLE return with 'The Living Likeness Of My Electric Daemon' out June 26, 2026 & share "PVC Vest" music video! Pre-Order / Watch / Listen Now Acclaimed electronic/dark-synthpop duo Miracle return with The Living Likeness Of My Electric Daemon, their third full-length album and first new release in over eight years. Written and recorded between London and New York from 2019 to 2025, the album arrives June 26 via Relapse Records and finds Miracle at their most distilled and uncompromising. Miracle once again unites two artists with rich musical histories across electronic, experimental, and progressive music: STEVE MOORE, one half of progressive synth-rock duo Zombi and composer of acclaimed contemporary horror soundtracks including The Guest and Mayhem; alongside vocalist/multi-instrumentalist DANIEL O'SULLIVAN, known for his work with experimental/avant-garde acts Ulver, Grumbling Fur, Æthenor, Sunn O))), Guapo, Mothlite, and This Is ot This Heat. Mixed by Steve Moore Mastered by James Plotkin (@plotkinworks ) Artwork by Mark Titchner (@marktitchner )

‘Industry wiped from the Earth’ 2011 Carved burnt wood and aluminium leaf 102cm x 102cm x 9cm

For his Art Mail postcards, @marktitchner explored Winsor & Newton watercolour pencils for the first time experimenting with thin washes, densely worked layers, and drawing back into the surface to build outlines, highlights and shadows. “The artworks are typical of my practice,” he shares, “bringing together graphic elements and colour to create a tone or atmosphere for the text.” His phrase “It is you” holds multiple readings at once. “It” can feel vast a shorthand for “everything,” suggesting “You are everything.” Yet it can also speak in a more offhand, impersonal way. The ambiguity is where the work lives, inviting each viewer to decide what rises to the surface. A postcard that’s small in size, big in resonance and now travelling into our global gallery.

What an honour to hear Mark Titchner and Lucy Owen speak about the Questions About Us placards tonight at Two Temple Place. I knew Seni’s story (and if you don’t, the film RIP SENI is still available via the Guardian website) but hearing about the process behind the work really brought into focus the challenges. The careful shaping of each question. The reality of the Mental Health Act (2005), and how impenetrable it can feel in practice. And then the decision to site the placards around the perimeter of Bethlem Royal Hospital. That threshold space. Not quite inside, not quite outside. It carries a weight of its own. A sense of boundary, of being held in, or kept out. The works themselves are powerful enough. ('Do you understand the decisions you are making' is one that I can apply to myself on an almost daily basis!) But the unknown collaborator who brought Seni's story to everyone's attention means they took on an even greater resonance. The artworks themselves grew into an object of protest and remembrance. The works were produced as part of @bethlemgallery Mental Health and Justice Project which ran from 2018-2022 and was funded by @wellcometrust On display at @twotempleplace until 19th April as part of #theweightofbeing

Olaseni Lewis (Seni) died on 3 September 2010 after being restrained by up to 11 police officers for up to 45 minutes while he was seeking help as a voluntary patient at Bethlem Royal Hospital during his first psychotic episode. A series of mirrored placards, titled 'Some Questions About Us' were later commissioned from @MarkTitchner as part of the project Mental Health and Justice, in which researchers and artists explored legal capacity in mental health care. They were installed around the perimeter of Bethlem Hospital. These forthright questions relate to issues of mental capacity and assessment, but can also be read more widely, addressing personal autonomy, the individual’s relationship to the state, and the fragility of that position. In 2020, at the height of the Black Lives Matter protests, the placards were graffitied with single letters spelling out: RIP SENI. In 2018, the Mental Health Units (Use of Force) Act, or ‘Seni’s Law’, was passed following campaigning by the Lewis family and their local MP, Steve Reed. However, racism continues to pervade all aspects of healthcare. The film RIP SENI reveals the fight for justice bereaved families have faced, when their loved ones have died at the hands of those that should have protected them. Seni would have been turning 39, instead he died when he was 23. Partway through studying for a Masters degree and with plans to travel to the US to undertake a PhD. The placards asked powerful questions when they were created. The graffiti changed them into a call to action and a demand that Seni's story is told. They are on display as part of The Weight of Being at Two Temple Place until 19 April. You can find out more about the campaign @ripsenifilm It was directed by @daisyifama with @lizzie_reid_ @graceshutti and Lucy Owen. 1. Some Questions About Us installed at Bethlem Royal Hospital. 2 & 3. Install shot of Some Questions About Us by Mark Titchner, 2019. Photography by Agnese Sanvito 4. Install shot of Some Questions About Us by Mark Titchner, 2019. Photography by Marysa Dowling #RIPSENI #mentalhealth

'It is you Iove the most', Elephant and Castle, London as part of @buildhollywood 'This is a Love Protest' poster series with 21 artists in 11 cities across the UK. Funds raised through the initiative will support @warchilduk , whose mission over the past three decades has been ensuring a safe future for every child living through war. Head to the link in bio on @buildhollywood ’s and @uncle_insta ’s profiles to learn more about the artists behind the project. Please consider making a charity donation – every penny goes straight to War Child.

I was always pleased with this invite for ‘Ends thou’ my public project on the railway bridge on Southend High Street in 2012 for @focalpointgallery curated by @andrewhunt1234 . I came across it last night being used as a bookmark in a book I haven’t opened for over a decade. And yes, Ends Thou is an anagram of Southend 👁️

First year CSM circa ‘92. I’m pretending to sit on the life size painting of a sofa I’d made. This is the only photo I have from those long ago days, dug out as part of the current show at @unihertsarts of their foundation course alumni

UNCLE PRESENTS: THE ART OF FLYING LUNCHTIME TALKS & SCREEN PRINTING WORKSHOP Sunday 2nd November, 10.30AM – 4.00PM 1 Quaker Street, Shoreditch, London Featuring talks and discussions by: Adrian Burnham Susan Hansen Catherine Flood Peter Kennard & Cat Phillipps Mark Titchner Tim Horrox Martin Gray Please RSVP via the link in @uncle_insta 's bio.

Medium of Interfluidity As one of the 3 major panels at the Print in Post-Print Triennial at the China Art Academy is now open to the public till the 16th of December. 🎉 My heartfelt thanks to all the participating artists and our dedicated volunteers, museum staffs & install team! ❤️❤️❤️

The Myth of Barter One Dozen Bookmarks Thirteen artists. Twelve bookmarks.
An edition of 50 (+1 AP) and 30 (+12 AP) box-sets. Each artist receives a box-set of twelve bookmarks.
Two hundred and forty bookmarks, drawn from twenty of the fifty box-sets, are secretly hidden in books across twenty British libraries.
The remaining thirty box-sets are offered for sale — covering production costs and perpetuating myths. Six artists were each invited to create a bookmark and, in turn, to invite another artist to do the same. Artists
Ryan Gander, John Wood and Paul Harrison, Mark Titchner, Harun Morrison, Matthew Cornford, Becky Shaw invited Harry Grundy, Ruaidhri Ryan, Ellie Wyatt, Sasha Ercole, Duncan Poulton, Denise Lobonț @librarianservices #mythofbarter #onedozenbookmarks #librarianservices #artbookmarks
@divisionoflabour /one-dozen-bookmarks