From watching the earlier films as a family to making my Christmas list, writing down Argos catalogue codes whilst listening to Dire Straits and Eddie Grant - Star Wars evokes so many wonderful and vivid images of a brilliant childhood.

Taking on such a beast as this shouldn’t be under-estimated, anything must be done with authenticity, doing justice to an incredible narrative and to inspire a fan base like no other.

I would never confess to being an out-and-out die-hard Star Wars nerd, fair play to those who are but it is the earlier films that really appeal to me for the reasons above. This is why I feel comfortable and excited taking them on, and ultimately happier when doing so as I cherish my childhood and family more than ever now.

‘Battles Passed’ is my first landscape scene inspired by Star Wars and I am so proud of the end result. This is such an ultra-commercial and over saturated subject so anything I did would only ever run in line with what my work represents and offer something different, anything else doesn’t interest me and wouldn’t be authentic to my art.

The aim with this piece was to create something subtle, something with genuine class, where the real detail could actually be missed at first, instead taking it for simply a beautiful landscape scene. I didn’t intend to shout with this one, just to do it justice and I am so proud of the end result.

I loved the battles of Endor, it was the intensity of the fight set amongst such a rich forest setting that was such a contrast to those set within a ship for example. I wanted to suggest remnants of battles passed, to show how nature lives on, slowly taking back control against the harshness of the man-made objects. Continuing this concept of battles passed I felt it apt to include a subtle reference to those faced by the late Carrie Fisher. Less is more...

From watching the earlier films as a family to making my Christmas list, writing down Argos catalogue codes whilst listening to Dire Straits and Eddie Grant - Star Wars evokes so many wonderful and vivid images of a brilliant childhood.

Taking on such a beast as this shouldn’t be under-estimated, anything must be done with authenticity, doing justice to an incredible narrative and to inspire a fan base like no other.

I would never confess to being an out-and-out die-hard Star Wars nerd, fair play to those who are but it is the earlier films that really appeal to me for the reasons above. This is why I feel comfortable and excited taking them on, and ultimately happier when doing so as I cherish my childhood and family more than ever now.

‘Battles Passed’ is my first landscape scene inspired by Star Wars and I am so proud of the end result. This is such an ultra-commercial and over saturated subject so anything I did would only ever run in line with what my work represents and offer something different, anything else doesn’t interest me and wouldn’t be authentic to my art.

The aim with this piece was to create something subtle, something with genuine class, where the real detail could actually be missed at first, instead taking it for simply a beautiful landscape scene. I didn’t intend to shout with this one, just to do it justice and I am so proud of the end result.

I loved the battles of Endor, it was the intensity of the fight set amongst such a rich forest setting that was such a contrast to those set within a ship for example. I wanted to suggest remnants of battles passed, to show how nature lives on, slowly taking back control against the harshness of the man-made objects. Continuing this concept of battles passed I felt it apt to include a subtle reference to those faced by the late Carrie Fisher. Less is more...

From watching the earlier films as a family to making my Christmas list, writing down Argos catalogue codes whilst listening to Dire Straits and Eddie Grant - Star Wars evokes so many wonderful and vivid images of a brilliant childhood.

Taking on such a beast as this shouldn’t be under-estimated, anything must be done with authenticity, doing justice to an incredible narrative and to inspire a fan base like no other.

I would never confess to being an out-and-out die-hard Star Wars nerd, fair play to those who are but it is the earlier films that really appeal to me for the reasons above. This is why I feel comfortable and excited taking them on, and ultimately happier when doing so as I cherish my childhood and family more than ever now.

‘Battles Passed’ is my first landscape scene inspired by Star Wars and I am so proud of the end result. This is such an ultra-commercial and over saturated subject so anything I did would only ever run in line with what my work represents and offer something different, anything else doesn’t interest me and wouldn’t be authentic to my art.

The aim with this piece was to create something subtle, something with genuine class, where the real detail could actually be missed at first, instead taking it for simply a beautiful landscape scene. I didn’t intend to shout with this one, just to do it justice and I am so proud of the end result.

I loved the battles of Endor, it was the intensity of the fight set amongst such a rich forest setting that was such a contrast to those set within a ship for example. I wanted to suggest remnants of battles passed, to show how nature lives on, slowly taking back control against the harshness of the man-made objects. Continuing this concept of battles passed I felt it apt to include a subtle reference to those faced by the late Carrie Fisher. Less is more...

This is a very different interpretation of Cinderella based initially on Aschenputtel (Cinderella) written by the Brothers Grimm. It is a much, much darker version - awful in places, even for me! What we all know and love from the Disney version is so far from the reality here it is scary.

This piece is a classic example where I build a secondary narrative into the piece that then takes over and consumes the image, albeit it making it much more beautiful. There is no fairy godmother - instead a pear tree that grew on Cinderella’s dead mothers grave whilst birds flocked together as one to destroy the ugly sisters in a way you would not think possible.

So this piece runs in line with the overriding concept that pushes Cinderella into that coach and that gets her to the ballroom to ultimately be rescued by her Prince yet it represents so much more, to me and hopefully to others who can find affiliation to the concept.

The doves, an incredibly poignant detail throughout my work, come together when one simply isn’t enough in the hope that working together they can make the difference as they desperately try to help the person who has fallen, who sees no way out, before it is too far gone. A beautiful title for a beautiful act, good will win out if the shoe fits, and it does in this case, perfectly.

This is a very different interpretation of Cinderella based initially on Aschenputtel (Cinderella) written by the Brothers Grimm. It is a much, much darker version - awful in places, even for me! What we all know and love from the Disney version is so far from the reality here it is scary.

This piece is a classic example where I build a secondary narrative into the piece that then takes over and consumes the image, albeit it making it much more beautiful. There is no fairy godmother - instead a pear tree that grew on Cinderella’s dead mothers grave whilst birds flocked together as one to destroy the ugly sisters in a way you would not think possible.

So this piece runs in line with the overriding concept that pushes Cinderella into that coach and that gets her to the ballroom to ultimately be rescued by her Prince yet it represents so much more, to me and hopefully to others who can find affiliation to the concept.

The doves, an incredibly poignant detail throughout my work, come together when one simply isn’t enough in the hope that working together they can make the difference as they desperately try to help the person who has fallen, who sees no way out, before it is too far gone. A beautiful title for a beautiful act, good will win out if the shoe fits, and it does in this case, perfectly.

The hope was to create a piece that makes you change your opinion on the girl out of view, we can be so quick to judge and dismiss. I try to encourage a closer look, for clues that create empathy towards the young woman. Is she a monster, or is she the victim of the cards that she has been dealt?

So for this piece entitled ‘Fear Is How I Fall’ it sets a scene that can either be the prequel, or sequel depending on how you view it. Have you walked into her room before her downfall, where you notice the contributing factors starting to blow in from the world outside? Or are we actually in fact seeing her after being rescued once again by her Prince who simply could not walk away like others who had already done so.

If you favour the latter you will notice that cracks remain, clouding the clear. Do her phantoms still stand tall behind her? Her wounds, they will not heal. The title ‘Fear Is How I Fall’ suggests fragility, bringing with it empathy. There’s something inside her that pulls beneath the surface, consuming, confusing.

This is a classic example of how I strive to show the proximity that darkness resides to light, where one can so easily fall back yet equally walk clear. Will good win out? Will she live happily ever after? I really hope so!

The hope was to create a piece that makes you change your opinion on the girl out of view, we can be so quick to judge and dismiss. I try to encourage a closer look, for clues that create empathy towards the young woman. Is she a monster, or is she the victim of the cards that she has been dealt?

So for this piece entitled ‘Fear Is How I Fall’ it sets a scene that can either be the prequel, or sequel depending on how you view it. Have you walked into her room before her downfall, where you notice the contributing factors starting to blow in from the world outside? Or are we actually in fact seeing her after being rescued once again by her Prince who simply could not walk away like others who had already done so.

If you favour the latter you will notice that cracks remain, clouding the clear. Do her phantoms still stand tall behind her? Her wounds, they will not heal. The title ‘Fear Is How I Fall’ suggests fragility, bringing with it empathy. There’s something inside her that pulls beneath the surface, consuming, confusing.

This is a classic example of how I strive to show the proximity that darkness resides to light, where one can so easily fall back yet equally walk clear. Will good win out? Will she live happily ever after? I really hope so!

I strive to do things differently. This is not your usual take on Neverland, I wanted to go at this from another angle with the aim to create the most beautiful vista possible.

This is a classic example where a piece evolves mid-way through into something so much more than what I originally intended to create, making it so much more beautiful and engaging even if the visual traits are almost unchanged. This is my idea of Heaven.

The sun is rising over the clouds, bringing with it new hope, with the warmth brings comfort. The upper branches of the trees and the mountaintops poke through the clouds with magical fairy detail dancing around them. If you then spot the pirate ship it does then make you question whether it is actually flying through clouds or sailing through a mist, a question of scale comes into play.

However, you interpret it the end result is truly immersive and captivating. I have long had an affiliation towards the Aurora since being lucky enough to have visited Lapland several years back, if you look closely you will spot them, look closer and you will see that they are actually made from peacock feathers! The beauty is within the detail here, there is no devil.

Creating this piece was incredibly calming and challenging, I had set myself a high target to achieve with creating the most beautiful scene imaginable. This is where the piece started to transform and take on a new meaning. For me and many I would hope that there can be no other place more beautiful than Heaven.

The more I worked into the scene it took precedence over Neverland, the detail is there of course but something exists that influenced my way of thinking. You will notice the two shapes that come together as one, adding this was powerful and incredibly emotional, it changes everything.
For within Heaven, as with Neverland, age is irrelevant, you become truly free, reunited.

There is so much to look at here, way too much to list! I continually kept challenging myself throughout this piece, how could I make things that were already cool, cooler, to change everything up a gear or two. For example, how do you make an already cracking sky pop even more? Add a bloody space shuttle launch that’s how! Is it possible to make the Delorean any cooler? Well I’ve added a Jackal stood arrogantly in front of it so possibly!

It is so easy to focus on the cars that are clearly on view, look closely though - seems someone has left the party early? Any ideas? There are a few egos out there that could quite easily blow a gasket!

The end result is something quite special, even if I do say so myself yet there is so much more that can and will come from this, it’s just the first leg of the journey with ‘Petrolheads’..

There is so much to look at here, way too much to list! I continually kept challenging myself throughout this piece, how could I make things that were already cool, cooler, to change everything up a gear or two. For example, how do you make an already cracking sky pop even more? Add a bloody space shuttle launch that’s how! Is it possible to make the Delorean any cooler? Well I’ve added a Jackal stood arrogantly in front of it so possibly!

It is so easy to focus on the cars that are clearly on view, look closely though - seems someone has left the party early? Any ideas? There are a few egos out there that could quite easily blow a gasket!

The end result is something quite special, even if I do say so myself yet there is so much more that can and will come from this, it’s just the first leg of the journey with ‘Petrolheads’..