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A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.

Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows.

This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters.

The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.

Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”

Keep fighting!

A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.

Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows. 

This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters. 

The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.

Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”

Keep fighting!

A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.

Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows. 

This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters. 

The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.

Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”

Keep fighting!

A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.

Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows. 

This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters. 

The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.

Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”

Keep fighting!

A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.

Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows. 

This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters. 

The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.

Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”

Keep fighting!

The difference with this piece is that it isn’t a scene that is driven by the detail in the foreground but instead focuses on the car in full view and full motion - just as it about to hit that critical 88MPH. With the lightning kicking off in the distance over the city there is something quite special about the car leaving everything behind. The composition is set so that you could quite easily simply be a bystander on the footpath just lucky enough to capture this dramatic sight. A few seconds later you’re stood there with just a spinning number plate and fire trails wondering if you really saw that.

Whilst creating this piece an earlier study involved focusing much more on the car and where the background became a subtle backdrop. I chose to rework it so it fitted better with the collection as a whole but what this meant is that the level of detail in and around the Delorean is insane as that was the challenge that I set myself. Even though the car is now reduced down in composition you can still clearly see the detail and that sense of drama and movement - something different for me as the cars tend to be static.

This was a technically challenging piece to put it politely, piecing together the tunnel with a new opening and cliff that framed it whilst also softening the scene. I always seek to inject a dramatic light source where possible and the detailing within the tunnel was the perfect platform for this. Personally, I am really pleased with the sky and the drama within it, but something was missing, spotted it?!

The difference with this piece is that it isn’t a scene that is driven by the detail in the foreground but instead focuses on the car in full view and full motion - just as it about to hit that critical 88MPH. With the lightning kicking off in the distance over the city there is something quite special about the car leaving everything behind. The composition is set so that you could quite easily simply be a bystander on the footpath just lucky enough to capture this dramatic sight. A few seconds later you’re stood there with just a spinning number plate and fire trails wondering if you really saw that.

Whilst creating this piece an earlier study involved focusing much more on the car and where the background became a subtle backdrop. I chose to rework it so it fitted better with the collection as a whole but what this meant is that the level of detail in and around the Delorean is insane as that was the challenge that I set myself. Even though the car is now reduced down in composition you can still clearly see the detail and that sense of drama and movement - something different for me as the cars tend to be static. 

This was a technically challenging piece to put it politely, piecing together the tunnel with a new opening and cliff that framed it whilst also softening the scene. I always seek to inject a dramatic light source where possible and the detailing within the tunnel was the perfect platform for this. Personally, I am really pleased with the sky and the drama within it, but something was missing, spotted it?!

The difference with this piece is that it isn’t a scene that is driven by the detail in the foreground but instead focuses on the car in full view and full motion - just as it about to hit that critical 88MPH. With the lightning kicking off in the distance over the city there is something quite special about the car leaving everything behind. The composition is set so that you could quite easily simply be a bystander on the footpath just lucky enough to capture this dramatic sight. A few seconds later you’re stood there with just a spinning number plate and fire trails wondering if you really saw that.

Whilst creating this piece an earlier study involved focusing much more on the car and where the background became a subtle backdrop. I chose to rework it so it fitted better with the collection as a whole but what this meant is that the level of detail in and around the Delorean is insane as that was the challenge that I set myself. Even though the car is now reduced down in composition you can still clearly see the detail and that sense of drama and movement - something different for me as the cars tend to be static. 

This was a technically challenging piece to put it politely, piecing together the tunnel with a new opening and cliff that framed it whilst also softening the scene. I always seek to inject a dramatic light source where possible and the detailing within the tunnel was the perfect platform for this. Personally, I am really pleased with the sky and the drama within it, but something was missing, spotted it?!

The difference with this piece is that it isn’t a scene that is driven by the detail in the foreground but instead focuses on the car in full view and full motion - just as it about to hit that critical 88MPH. With the lightning kicking off in the distance over the city there is something quite special about the car leaving everything behind. The composition is set so that you could quite easily simply be a bystander on the footpath just lucky enough to capture this dramatic sight. A few seconds later you’re stood there with just a spinning number plate and fire trails wondering if you really saw that.

Whilst creating this piece an earlier study involved focusing much more on the car and where the background became a subtle backdrop. I chose to rework it so it fitted better with the collection as a whole but what this meant is that the level of detail in and around the Delorean is insane as that was the challenge that I set myself. Even though the car is now reduced down in composition you can still clearly see the detail and that sense of drama and movement - something different for me as the cars tend to be static. 

This was a technically challenging piece to put it politely, piecing together the tunnel with a new opening and cliff that framed it whilst also softening the scene. I always seek to inject a dramatic light source where possible and the detailing within the tunnel was the perfect platform for this. Personally, I am really pleased with the sky and the drama within it, but something was missing, spotted it?!