Commissions
When workload allows Mark embraces client commissions and has enjoyed amazing success to date. If you have been inspired by the work that you have seen and have a specific idea or simply a seed then please do get in touch. See below for a vast collection of stunning commissioned pieces.
A Minute Past Midnight (Cinderella) - Original
- Captured in mid transition, Cinderellas Pumpkin coach has come to rest on the cobblestones under the glow of the Italian night sky. This piece is a concept of time, embracing the reality of how quickly things can change. Rags to riches and right back again. Fools gold?
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- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
An Eye For An Eye (Wizard of Oz) - Original
- This piece depicts the scene that involves the Wicked Witch of the West melting after having water thrown on he by young Dorothy. The piece is set within the witches castle with an open window (from where the witch spies for intruders - in this case Dorothy, Toto, the lion, tin man and scarecrow.) The window has a striking view across the landscape and towards the emerald city in the distance.
My intention was to construct a stone pillared room that creates two opposing sides to the room and allows for a good vs evil set up to the piece where the two meet in the middle and ultimately is where the witch melts away.
I have explored the witches character within the piece, referencing her evil traits contrasted with childlike fears of darkness and water, although we learn that the real fear of water is the fact that being so rotten and old her blood has dried up causing her body to melt when coming into contact with a liquid so pure as water. Where does this fear of the dark come from? Could it be brought from past experiences as a child, is this why she is so full of hate and determined to inflict pain and obtain control through her winged slaves and terrifying killer black bees, wolves and crows? Through subtle objects and scrawled detail within the scene it make you question this, is she rotten it the core or just damaged?
The title for the piece 'An Eye For An Eye' represents the little known detail that the witch actually only had one eye (and wasn't green!) whilst also representing the fact that Dorothy accidentally killed the witch in retaliation for having her dog hit by the witch and having her beautiful shoes stolen by the witch (another attempt to gain more power and control).
The scene shows the scenario once all characters have gone, where fires still burn but light fills the room. When I am creating such pieces I prefer to leave enough open to change and adapt to how it evolves and build in new additions that come to me from being immersed in the concept and the scene itself.
There are intriguing details such as Dorothy's shoe, discarded tin, burnt straw, bucket, telescope (the witches eyesight was so strong it was like a telescope - perfect for spotting her prey), fire, shadows and an umbrella that she favoured to protect from water).
In summary this was a great opportunity to create a really striking piece that embraces the interaction between good and evil and the blurred lines that exist there, Dorothy's personality comes across as adorably innocent but still waters run deep...
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- Released: 2018
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Audrey (Audrey Hepburn) - Original
- An abstract take on the iconic and genuinely beautiful Audrey Hepburn inspired by the classic movie Breakfast at Tiffany’s. The quirkiness of the film and Audrey’s character is really lovely and was a perfect choice to focus on as I felt I could explore and interpret the darker, deeper side to her personality traits in contrast to her natural beauty and innocence, this means that this very different style for me still keeps the darkness and light element to my work.
What I love about the base image is that it coveys such a lovely calming quality and shows her deep in thought. Because of the contrasts in her character and the stress that is brought to her I have amplified both aspects by softening areas and adding subtle beauty whilst creating areas of unrest and darkness that interact with and protrude from her body. Because of the intensity of the black what I have done is to introduce these cracking and smoking textures to almost make it have a there dimensional quality to the edges so it looks like the canvas is falling into the darkness. The concept also works perfectly with the darkness of Hollywood that existed back then and still to this day. -
- Released: 2018
- Collection: Icons
- Specification: 1 of 1 original - Bespoke frame & embellished canvas, hand signed by artist.
- Image Size: 36” x 36"
- Framed Size: 38” x 38"
- This original sold with Images In Frames - Wanstead
Charlie (Charlie & The Chocolate Factory) - Original
Released: 2016 Collection: Storyteller Specification: 1 of 1 original framed embellished canvas, hand signed by artist. Image Size: 48” x 36" Framed Size: 54” x...
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Choose Life (Trainspotting) - Original
- This was an opportunity to create something dark, dirty, random and harsh but cool with iconic references that bring a wonderful sense of nostalgia into the piece. However in-line with my style of work I set about conceiving a concept where the darkest of darks can play out their power struggle with hope and light. There is such a rich diversity in the main characters and this allowed me to reinforce the dark and the light by introducing brutal elements that sit alongside innocent home comforts, showing that despite the harshness of their addictions and subsequent traits there is still good, a light still remains and the smallest flicker of flame to guide them to the light, to choose life still burns in a dark corner.
The piece opens a window into a pretty grim looking Edinburgh flat that on first glance you would identify as being in the 1990s at the time of the first film, the room is literally littered with objects from the films narrative and also other detail to reinforce the era. Peeling and rotten walls give up music references from the original soundtrack and show scrawled messages that hint at paranoia and utter randomness as a result of being high, or low but are actually selected lines from the cult song that is synonymous to the film - Underworld’s ‘Born Slippy’. A dirtied window casts light into the room whilst offering a grey view out to the Edinburgh Castle, the window also symbolises the good and the bad that exists through the dark forces that are let into the room from outside (drugs bought from street dealers, stolen goods to feed their habit) and also representing light through the darkness, a different life exists beyond their four walls.
Danny Boyles’ film was eye-openingly brutal and real, it was incredibly cool and tinged with surreal sinister moments such as the scene where the dead baby crawls the ceiling in Rentons’ nightmare. I wanted to acknowledge this and the randomness of parts of the film, to create a kind of ‘WTF’ detail so the baby is within the scene but a plastic doll, taped to the ceiling by his mates. Just a bizarre prank by those who are so high and entrapped that they could climb the walls themselves or is it done in a much more sinister way? An ageing TV plays the classic goal scored by Scotlands’ Archie Gemmill against Holland in the 1978 World Cup, the commentary from the goal spoken by Barry Coleman has also been immortalised within the scene, further reinforcing the characters obsession for ‘that goal’.
However when you look through into the next room (immersed in an orange glow to play on the colour ways and graphical execution of the films’ marketing) you will see certain objects that are placed to confuse. iPads weren’t invented in 1996?! The country didn’t vote for independence either? That is because it isn’t 1996, it is 2017 - the time of T2 Trainspotting - the sequel. Through the characters addictions and their demons growing ever taller behind them time and ultimately life has stood still for the past 2 decades. No money, no hope, just a biting reality that the bell of age has rang loudly in their heads for way too long. How can you see clearly if the sunlight is behind you? You can’t see your path if you are always looking backwards, roll Archie Gemmill. I set out to create a scene that shows a walk through from room to room that represents the journey in life, not the entire lifecycle but from that point of seemingly no return to embracing the power of ones’ choice, choose life. The brightest window in the room signifies that point of hopefully no return.
My aim was truly do justice to this epic piece of British film making and to embrace being lucky enough to be part of such a great era. I wanted to show the harshness of their life dominated by drugs, to cast light into the darkest corners and to create a intense piece of art that fans of the film would love spotting all of the references but I also wanted to add tiny details that look a little deeper at the impact of the abuse, how it can release a positive change in a suppressed soul, representing an evolution, a transition albeit a temporary one. On the flip side how it can completely and utterly crush goodness and regress the most positive person - this is subtle within the piece as I didn’t want it to detract or confuse but look through the smoke to find the chrysalis, caterpillar and butterfly, or is it the other away around.
Choose Life. -
- Released: 2017
- Collection: Standalone
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- Sold with Robertson Fine Art - Edinburgh
Crushed Like Fruit (The Kite Runner) - Original
- What happens in a few days, sometimes even a single day, can change the course of a whole lifetime...
My interpretation of the incredibly powerful story by Afghan-American author Khaled Hosseini is a piece that focuses on the seemingly unbreakable bond between Amir and Hassan in a world where the innocence of youth is King. The Kite Runner was a natural choice for me as the battle between dark and light, evil and good frequently battle for supremicy within my work and Khaled’s narrative fits perfectly. Guilt and redemption feature prominently in the novel with a pivotal scene depicting an act of violence against Hassan that Amir fails to prevent. The latter half of the book centers on Amir’s attempts to atone for this transgression by rescuing Hassan’s son over two decades later.
For me this piece had to focus on the pomegranate tree, upon learning of it’s beautiful significance and multi-layered symbolism for the two boys friendship there was only ever one route for me. “There was a pomegranate tree near the entrance of the cemetery. One summer day, I used one of Ali’s kitchen knives to carve our names on it: ‘Amir and Hassan, the sultans of Kabul’. Those words made it formal: The tree was ours.” The boys saw the tree as their special place and thought that nothing could take the friendship away from them. After the horrible tragedy that Amir witnesses with Hassan where the innocence of youth was stolen and crushed like fruit, the tree no longer holds the same meaning for the two of them. There is only one sin. and that is theft... I have created a scene that has been left wide open for interpretation and one for you to decide whether the tree is indeed dying or fighting back and to establish the links and the significance between the objects that exist within the sand-blown landscape of Kabul.
There is detail that comes out from the shadows, detail that for example might initially look like falling leaves from the dying tree but then move closer and you see that they are actually crows in the distance. Items have been placed next to each other that symbolise the gulf in contrast between fragile beauty and explosive destruction. I particularly love how Khaled set the pomegranate tree within the grounds of a cemetery to convey this powerful play between life and death and everything in-between. There is something intense about how one act, one decision made by you or another can simply crush all that is wonderful and living. I choose the title ‘Crushed Like Fruit’ for how it conveys that very destructive act, how something that is full of good can be so easily and aggressively taken by man’s actions, be that the brutal theft of Hassan’s innocence by Assef or the destruction of a beautiful country with all that remains being an empty shell.
Ultimately despite how intense the shadows may be there will exist light and light shines brightest when surrounded by darkness. It might take longer to make it’s way through but it always finds a way, two decades in this case but I am firm believer that true friendship never dies, it will wither and wilt but those with the strongest, deepest roots have blossomed and born fruit and can resist periods of drought and neglect. -
- Released: 2017
- Collection: Stagecraft
- Specification: 1 of 1 original - Bespoke frame & embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Dare To Dream (The BFG) - Original
- There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?
To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.
In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?
In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.
The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.
‘Just let me do good’.
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- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Dead Or Alive (Robocop) - Original
- My interpretation of the original Robocop from 1987. This film sticks in my memory from watching it on VHS at my mates house when his dad was out, it was the first film I had seen where it was so brutal and bloody. The scene where Ed-209 was introduced to the boardroom and malfunctioned before spraying bullets stuck with me for ages, it’s still terrifying even now when you picture the sheer terror and realisation the seconds are counting down quicker than you can react to, awful! So when this commission was booked in it was the natural focus for me, same with when I took on Jaws from my current Lost In Hollywood collection I decided to confront my childhood fears and embrace those memories!
The film showcased how the city was being overrun by criminal brutality and how the police force were losing the battle whilst civilians were being overrun by their robotic equivalents. Omnicorp was the huge machine at the centre of it all but were they making masterpieces or monsters? Who was controlling who in the streets that had been promised a silver lining.
It is said that Robocop as a concept was inspired by the futuristic British cop Judge Dredd and you can certainly see this, as a subtle reference to this I have placed Judge Dredds helmet within the scene, something that is designed to confuse but then encourage greater thought. The catchphrase "I'd buy that for a dollar" is based on the catchphrase "would you buy that for a quarter" from a fictional radio show in Cyril M. Kornbluth's short story "The Marching Morons.” I have referenced both the catchphrase and the story by placing a single dollar bill centrally and scrawling a message on the wall from the story that sums up perfectly what I am saying through this piece, it reads 'ARE WE EVOLVING TOWARD BECOMING MARCHING FUCKING MORONS?’ Robocops’ gun and a hand grenade from the film feature also along with empty bullet casings. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Enigma (50 Shades Of Grey) - Original
Released: 2016 Collection: Storyteller Specification: 1 of 1 original framed embellished canvas, hand signed by artist. Image Size: 48” x 36" Framed Size: 54” x...
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Greed Breeds Monsters (Jurassic Park) - Original
- I absolutely loved this film, amplified because of my fascination for dinosaurs as a child. T-Rex was always a favourite for me and the fact that he featured with such dramatic effect in the Spielberg picture albeit with pretty harsh results made it such a great film personally. The majestic nature of the creatures, brought back to life was incredible to see whilst the darkness that ran throughout the narrative coupled with sheer terror in parts resonated with me when I was made aware of this commission. I’m not sure if the T-Rex devouring the guy sat on the toilet left more of a lasting impression on me than the spitting Velociraptor that ate the tubby guy in the jeep, that was terrifying to watch. Actually I would have to say the latter as it was one dinosaur that I didn’t include in this piece so subconsciously it must still be deep-rooted! The great thing was that I got the chance to meet the client at my recent show, James had previously commissioned the BFG piece and shared with me how that story and resulting piece brought back so many special memories for him. Based on that I have no doubt that he has a real affiliation with Jurassic Park so I was hell-bent on exceeding his expectations.
A quick google image search on the film is dominated by images of scenes set during the storm, with terrifying dinosaurs, lashing rain and huge gates. Whilst all of these are clearly representative of the qualities of the film I wanted to go in a different direction, creating an intriguing scenario that is full of detail that is open to interpretation that allows the viewer to decide what has happened or in the midst of happening. I wanted to create a landscape that was beautiful, really beautiful, one of scale and wonder yet one that has a darkened, bare and exposed quality to contrast and set the tone for the darker side of the film. The landscape is set on a steep incline with bare land and twisted roots, in a clearing and on high where flying creatures can swoop down at any time to pick you off. The broken rock landscape is my way of showing the breached perimeter from the park. I had to get T-Rex into the scene without simply showing him so what I have done is to create a gnarled old tree that has grown into the shape of the creatures leg and clawed foot. The aim here is to be subtle initially, do you see a dinosaur or do you see a tree first? The film is all about the conflict between creature and creator and I wanted to showcase this in the layout. The iconic Jeep is parked directly opposite the tree, creating a stand off almost, directly bringing the two powers together.
The title of the piece 'Greed Breeds Monsters’ is statement that showcases my acknowledgement of the darkened plot and also of the bigger picture to what is a global problem in society and business. Should reincarnating the Dinosaurs be embraced and allowed? Possibly, done for the right reasons and within the right hands. With success come people that brings money that brings opportunities that expose weaknesses. This is where the darkness comes. It only takes one bad egg to overpower all the good that then creates a new Mother Nature, possibly a new God but one that gives life to the innocent that are born into hate. My piece is dominated by the powerful landscape, the tree and the jeep whilst a good number of smaller references pay homage to the film whilst also supporting my concept. Untarnished but already impacted innocence exists next to objects of destruction, be that a rifle or a dollar bill. Ultimately from the battle between creature and creator there is a sacrifice, stood in the middle of the two dominant objects here is the goat, a key ‘object’ from the story and one that was perfectly placed to illustrate this sacrifice. Subtle floating light detail are attracted to the things that are good and fragile whilst dark smoke and flames surround objects that have brought destruction. The beautiful glow from the sky bring in light and signifies hope, unaffected by the the conflict that is shines upon.
Although I have left so much open to interpretation I have suggested however that the scene shown is set further on after the dramatic events within the park where the good plan had imploded into carnage. The branded experience set up by the parks owners was left in tatters and most probably should have been left well alone, to be reclaimed by nature. However an opportunist with an eye for a fortune looks to have exploited how exposed the venture was and has taken it on, whether it is being driven by good or bad hands is up to you. Is the past the past or is it the future? Who ultimately is the creator and who is actually the creature? -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
HEIST (Reservoir Dogs) - Original
- This is my interpretation of the Tarantino classic Reservoir Dogs where I have shed light into a key part of the film that we don’t get to see, the bank robbery itself. Tarantino was a master at doing this, leaving key details to the viewers imagination and is therefore a perfect opportunity for me to create my version of events whilst still leaving a lot open to interpretation. From speaking with the client it was clear that they loved the original ’Stuck In The Middle With You’ piece so I have created a scene that complements that both in terms of composition and colour palette.
Stark concrete walls have been detailed to create personality injected by those you can’t see, there is evidence of a struggle and not just the physical kind. Darkness and light, good and bad are portrayed within the piece that hint at the heightened mindset of the crook where not only is he wrestling with what is right and wrong and the implications of being caught and imprisoned he is also well aware of the impact of going against his fellow gangsters and turning traitor. Mr Orange, who is said character is referenced subtly within the scene through the orange glows that radiate from the diamonds and the shades whilst also being depicted as the rats that crawl around the room.
There are also references to other valuable assets kept within the vault, upturned boxes that bear the Jack rabbit Slim logo and various film reels, one with the Pulp Fiction icon, a little nod to the preciousness of Tarantino’s art. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Hell & High Water (Noah's Ark) - Original
- My interpretation of Noah’s Ark, entitled ‘Hell and High Water’ was a great subject to tackle and one that I wanted to do genuine justice to. The title being a reflection on Gods’ act to wipe out all that was bad and bring the flood. There is also a hint there to life onboard the ark, not all plain sailing and that, trying to imagine the frustration, worry, boredom and cramped conditions for all those within the Ark.
The scene shows a beautiful expanse of calm water with a hint of the destructing land in the distance from what they are sailing away from. The tops of the mountains and volcanoes are visible, smoking above the waters, with flashes of lightning. Here I wanted to make you question whether these are visible due to the water not quite reaching the summits or if the waters are receeding and leaving the fires of hell still burning - hinting that God didn’t quite achieve a total cleanse - dark forces still remain.
You always see artist interpretations of the Ark being tossed about on huge waves or when you do see an image in calm waters, the ark is sterile and not shown in true context in my opinion. So I wanted to set about constructing an imposing and intriguing boat, pieced together from single strips of wood and other textures. I wanted to focus on perspective in my work, to create subtle drama in the composition and scale.
The Ark is huge, as soon as you add the animals it conveys just how big it is otherwise as it is surrounded by water it would be hard to achieve that. I wanted to think long-term, those on board need food and reminders of their natural habitat. The deck has a cut away area where animals interact with trees, trees that attract birds. The Ark has fishing nets set out, not quite the feeding of the five thousand but another hint of long-term survival.
You typically only see cramped animals on deck in imagery, I have shown sea life following the Ark, all for one and one for all messaging - they are joining the journey for survival. I think by adding the animals, birds and sea life in this way it really adds something lovely without impacting on the integrity of the piece. I hope you like where I have taken this piece, personally I love it and feel that I have created something unique, respectful and beautiful. -
- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Hope (The Little Mermaid) - Original
- Hans Christian Andersen’s The Little Mermaid is depicted through a wonderfully vibrant and enchanting digital narrative that is soured by a darker undercurrent that ultimately prevails, leading to sadness, heartbreak and a waste of life. This is a tale of unreciprocated love between the beauty of the sea and man both as Hans intended but also where our negative impact on the sea comes out from the shadows, referencing the likes of war and the draining of the earths’ resources. What becomes of the broken hearted? Time will tell...
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- Released: 2016
- Collection: Through Darkness & Light
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
I Have A Dream (Martin Luther King) - Original
- This piece is perfect to showcase my affiliation towards the interaction between darkness and light, hope that fights against the depths of despair, good versus evil. I have captured the very essence of what this famous preacher was about and stood for in contrast with the raw evil and brutality that he stood up to and fought and that ultimately he fell victim to. This is all summed up perfectly with the following quote - 'Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that’. Darkness that creeps and builds, trying to encroach and overcome the light, this plays out on the canvas through intense embellishments with a wide range of textures and techniques that bring the canvas and the battles to life, dominated by his figure that overpowers the shadows that surround him, those that lurk in the background. Patches of intense, claustrophobic black exist alongside beautiful detailing of light that doesn’t hide away from the darkness but that embraces the sense of hope that you can’t live without.
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- Released: 2018
- Collection: Icons
- Specification: 1 of 1 original - Bespoke frame & embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- Sold with Robertson Fine Art - Edinburgh
I Hope (The Shawshank Redemption) - Original
- This piece is ultimately a gritty prison cell scene from within Shawshank State Penitentiary that features a good number of references to the movie plot which is dominated by the escape element but where this has been adapted to represent a more conceptual message that reaches out to a greater audience than just those who love the film itself.
Shawshank Redemption is such a powerful film, not just aesthetically but one that conveys such an enduring power of hope, perfect for my work and the message that I look to portray as often as possible. I have set about creating a scene that is at first study an engaging take on the plot, a window into Andy’s cell but through modifying the tunnel element to the piece it exposes a greater depth.
The tunnel is shallower yet no less dramatic, almost window-like. I have set the view through this window to show the iconic shoreline scene of Zihuatanejo - Mexico. This creates a more direct and blatant vision of where Andy hopes to be one day once free. To reinforce this I have chosen to indicate that the hole in the wall was covered in fact by a simple picture of the same scene rather than of the poster from the movie that is torn down by the Governor. This creates a different take on the original narrative whilst more importantly reaches out to so many of us that have innocent aspirations, hopes and dreams.
The beach view could mean leaving their worries and their fears behind and creating a new life for themselves or it could simply represent a holiday. Both are of equal importance as a something deemed more simple could represent a much much bigger challenge through restrictions such as money or other restrictive factors. Andy hoped to walk the sands of that beach from being wrongly incarcerated for close to 20 years and subjected to a terrifying ordeal, to another person it could represent their hope of one day being able to travel after being set free from the shackles of debt, cast over them from someone else’s doing, both represent good being restricted and caged, birds aren’t meant to be caged.
The image through the wall represents something different to everyone who has hope and fights to keep hold of it. Most often a task that appears huge and impenetrable can be chipped away at through time with something simple. The fact that the breakthrough was made with a tiny hammer is why I have placed the tool in the foreground, supporting its importance but reinforcing its size. On all levels it showcases the call to those have been dealt a bad card in life to not just accept it, to establish a way to win and to be free and to achieve ones’ dreams rather than giving up and accepting, to get busy living or get busy dying. The objects placed within the scene are a mix of actual objects that those who know and love the classic movie will recognise and some less obvious, more conceptual details that make you think.
Good has flown away, illustrated by the dove feathers whilst the bad remains only to look out in isolation, symbolised by the solitary black crow that is featured to represent the corrupt Governor who is left to peer through the hole in defeat. The browned falling oak leaves symbolise time escaping for Andy’s friend Red to gain freedom and set out to find what Andy had buried under that solitary oak tree. Andy was a lover of Chess, his time in prison and his plot to escape were a tactical battle, culminating in a masterstroke by the ‘Pawn’ in defeating the ‘King’, this is depicted subtley within the scene.
The other details I will leave for you to find and consider. I genuinely loved watching the Shawshank Redemption years ago, albeit back then more on face value, now, with way more life experience I embrace absolutely everything that it stands for and I hope that I have done justice to a true masterpiece.
Hope is a good thing, maybe the best of things, and no good thing ever dies. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- Sold with Art Insights - Reston - USA