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Fade To Black (The Woman In Black) - Hand Embellished Large Limited Edition 1AP - SAVE £200
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This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?
I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.
There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?
It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.
Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.” -
- Released: 2017
- Collection: Stagecraft
- Specification: Limited edition fine art print, hand signed by artist.
- Edition Size: 10 + 1AP (Hand-Embellished)
- Number 1AP
- Framed Size: 47.5” x 35"
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In stock and available for despatch
Fade To Black (The Woman In Black) - Standard Limited Edition
£415.00
- This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?
I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.
There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?
It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.
Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.”
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- Released: 2021
- Collection: Stagecraft
- Edition Size: 25
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Fade To Black (The Woman In Black) - VHS Limited Edition
£595.00
- This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?
I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.
There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?
It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.
Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.”
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- Released: 2021
- Collection: VHS Collection
- Edition Size: 10 + 2AP
- Specification:
- Hand embellished
- Floated poster and double mount
- Custom spray-painted frame
- Sticker decals
- Hand signed by artist
- Image Size: 8.3” x 11.7"
- Framed Size (Approx): 13.5” x 16.75”
-
- Get in touch for overseas delivery
- Please allow approximately 21 days for delivery, should you need delivery sooner please let us know.
Fear Is How I Fall - Large Limited Edition
£545.00
- In 2016 I created a piece entitled ‘High Ho’ which showed Snow White in a very different light. She had her Prince, she could have lived happily ever after but she threw it all away and ended up hitting rock bottom, holed up in a derelict church within the forest, devoid of money and self-worth she had resorted to other ways of feeding her habit. Yet what defined a happy life? A life built on materialistic luxuries that glossed over the cracks that ran riot.
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!
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- Released: 2018
- Collection: A New Chapter
- Edition Size: 10
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 32” x 24"
- Framed Size (Approx): 42” x 34"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Fear Is How I Fall - The Original
- In 2016 I created a piece entitled ‘High Ho’ which showed Snow White in a very different light. She had her Prince, she could have lived happily ever after but she threw it all away and ended up hitting rock bottom, holed up in a derelict church within the forest, devoid of money and self-worth she had resorted to other ways of feeding her habit. Yet what defined a happy life? A life built on materialistic luxuries that glossed over the cracks that ran riot.
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!
-
- Released: 2018
- Collection: A New Chapter
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
Fight or Flight (Little Red Riding Hood) - Canvas Limited Edition
£1,295.00
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 10 + 2AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 36” x 27"
- Framed Size (Approx): 43” x 34"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Fight or Flight (Little Red Riding Hood) - Large Limited Edition
£555.00
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 10 + 2AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 32” x 24"
- Framed Size (Approx): 42.5” x 35"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Fight or Flight (Little Red Riding Hood) - Original
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 1 of 1 Original
- Specification: Mixed media original piece, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
Fight or Flight (Little Red Riding Hood) - Standard Limited Edition
£345.00
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 25 + 5AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 36” x 30"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Fight or Flight (Little Red Riding Hood) - Story Book Limited Edition
£595.00
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 20 + 5AP
- Specification:
- Hand embellished
- Floated book cover and double mount
- Custom spray-painted frame
- 'This book belongs to' stick on reverse for personalisation
- Hand signed by artist
- Image Size: 8.3” x 11.7"
- Framed Size (Approx): 13.5” x 16.75”
-
- Get in touch for overseas delivery
- Please allow approximately 21 days for delivery, should you need delivery sooner please let us know.
Fight or Flight (Little Red Riding Hood) Story Book - Original
- Beware, wolves lurk in every guise.
‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.
The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.
You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.
Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.
Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.
A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.
A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.
Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?
But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X
-
- Released: 2022
- Collection: Wolves, Wonderment & Wanderlust
- Edition Size: 1 of 1 Original
- Specification: Mixed media original piece, hand signed by artist.
- Image Size: 32” x 24"
- Framed Size (Approx): 38” x 30"
For Now I'm Winter (Narnia) - Large Limited Edition
- I could quite easily have created a scene set in a snowy forest clearing be it beautiful or dark but I wanted to tackle this piece from a completely different angle. I have set this as a ‘Storyteller’ style piece, one that embraces the depth and intensity that comes from producing a multi-layered narrative that drive the visual and open the viewers’ imagination to decide what has happened, what is happening and what could ultimately happen.
‘For Now I’m Winter’ is the title track of Olafar Arnalds album which together with the vocals of Arnor Dan has become a significant part of my work, featuring in pieces such as “Where Demons Roam’ for example. For me personally the phrase ‘For Now I’m Winter’ represents the acceptance by someone that things are not lost and that there is still the chance to recover from their current state no matter how far gone they are or think they are. So you might be experiencing the bleakest, darkest Winters but you accept that with Winter always comes Spring and with it the shoots of new growth that will if nurtured continue to grow. The question for the person studying this piece is do they see Winter or do they see Spring, are things too far gone or are they in recovery?
The primary narrative for this Narnia piece embraces the key objects and characters of the story and if you look, it still does actually show a forest clearing and snow through the deforestation caused by the battles that raged shown here as fire and also the snow drops that have forced their way through the charred earth. The wardrobe and light, both key objects from the story each have a place within the composition whilst there are more subtle references such as the rotten apple that is a link to the apple tree that was used to make the wardrobe initially.
These details create the scene and help to identify this darkened piece with Narnia whilst the focal point of the piece and ultimately the concept is Aslan, laying slain and restricted by stone, frozen in time. On first study it is a terribly sad scene, the body position and facial expression of the wounded lion that once ruled the land. Yet when you notice the snowdrops that surround him you will start to realise that maybe all is not lost and that wounds if treated can recover.
This brings me onto the deeper narrative that runs throughout the piece, one that most may not identify as being there but its’ there and makes this piece so much more poignant, powerful and ultimately positive. So much of my work is built around hope, shining a light into the darkest of shadows and this is showcased within ‘For Now I’m Winter’. Depending on experience past or present many will be able to identify with this concept either as the first or third person. Aslan is the person hypothetically wounded and in trouble, surrounded by the effects of the fires that burned around them but ultimately lying on ground where the flames have gone out, where new growth is starting to surround them.
The solitary dove feather that rests on the body represents the lasting impact of a loved ones’ care for the person in trouble, in Winter. The wardrobe is the open door, the escape out of this world, this is an incredibly powerful part. It could the permanent route back when Spring comes, it could be a temporary escape mechanism or it could be much worse when all other doors close. The galloping Fawn who is running away from the fire symbolises those who choose to run rather than help the person in need, something that is sadly all too common. Finally the light represents a pillar of hope and is what we are all drawn to, the light that shines brightest when surrounded by darkness.
For now I am Winter, lungs renew…
-
- Released: 2017
- Collection: Through Darkness & Light
- Edition Size: 10 + 1AP
- Specification: Deluxe limited edition fine art print, hand signed by artist.
- Image Size: 37” x 24"
- Framed Size (Approx): 47” x 35"
-
- Free delivery to UK Mainland
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
For Now I'm Winter (Narnia) - Original
- I could quite easily have created a scene set in a snowy forest clearing be it beautiful or dark but I wanted to tackle this piece from a completely different angle. I have set this as a ‘Storyteller’ style piece, one that embraces the depth and intensity that comes from producing a multi-layered narrative that drive the visual and open the viewers’ imagination to decide what has happened, what is happening and what could ultimately happen.
‘For Now I’m Winter’ is the title track of Olafar Arnalds album which together with the vocals of Arnor Dan has become a significant part of my work, featuring in pieces such as “Where Demons Roam’ for example. For me personally the phrase ‘For Now I’m Winter’ represents the acceptance by someone that things are not lost and that there is still the chance to recover from their current state no matter how far gone they are or think they are. So you might be experiencing the bleakest, darkest Winters but you accept that with Winter always comes Spring and with it the shoots of new growth that will if nurtured continue to grow. The question for the person studying this piece is do they see Winter or do they see Spring, are things too far gone or are they in recovery?
The primary narrative for this Narnia piece embraces the key objects and characters of the story and if you look, it still does actually show a forest clearing and snow through the deforestation caused by the battles that raged shown here as fire and also the snow drops that have forced their way through the charred earth. The wardrobe and light, both key objects from the story each have a place within the composition whilst there are more subtle references such as the rotten apple that is a link to the apple tree that was used to make the wardrobe initially.
These details create the scene and help to identify this darkened piece with Narnia whilst the focal point of the piece and ultimately the concept is Aslan, laying slain and restricted by stone, frozen in time. On first study it is a terribly sad scene, the body position and facial expression of the wounded lion that once ruled the land. Yet when you notice the snowdrops that surround him you will start to realise that maybe all is not lost and that wounds if treated can recover.
This brings me onto the deeper narrative that runs throughout the piece, one that most may not identify as being there but its’ there and makes this piece so much more poignant, powerful and ultimately positive. So much of my work is built around hope, shining a light into the darkest of shadows and this is showcased within ‘For Now I’m Winter’. Depending on experience past or present many will be able to identify with this concept either as the first or third person. Aslan is the person hypothetically wounded and in trouble, surrounded by the effects of the fires that burned around them but ultimately lying on ground where the flames have gone out, where new growth is starting to surround them.
The solitary dove feather that rests on the body represents the lasting impact of a loved ones’ care for the person in trouble, in Winter. The wardrobe is the open door, the escape out of this world, this is an incredibly powerful part. It could the permanent route back when Spring comes, it could be a temporary escape mechanism or it could be much worse when all other doors close. The galloping Fawn who is running away from the fire symbolises those who choose to run rather than help the person in need, something that is sadly all too common. Finally the light represents a pillar of hope and is what we are all drawn to, the light that shines brightest when surrounded by darkness.
For now I am Winter, lungs renew… -
- Released: 2017
- 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"
For Now I’m Winter (Narnia) - Standard Limited Edition
£395.00
- I could quite easily have created a scene set in a snowy forest clearing be it beautiful or dark but I wanted to tackle this piece from a completely different angle. I have set this as a ‘Storyteller’ style piece, one that embraces the depth and intensity that comes from producing a multi-layered narrative that drive the visual and open the viewers’ imagination to decide what has happened, what is happening and what could ultimately happen.
‘For Now I’m Winter’ is the title track of Olafar Arnalds album which together with the vocals of Arnor Dan has become a significant part of my work, featuring in pieces such as “Where Demons Roam’ for example. For me personally the phrase ‘For Now I’m Winter’ represents the acceptance by someone that things are not lost and that there is still the chance to recover from their current state no matter how far gone they are or think they are. So you might be experiencing the bleakest, darkest Winters but you accept that with Winter always comes Spring and with it the shoots of new growth that will if nurtured continue to grow. The question for the person studying this piece is do they see Winter or do they see Spring, are things too far gone or are they in recovery?
The primary narrative for this Narnia piece embraces the key objects and characters of the story and if you look, it still does actually show a forest clearing and snow through the deforestation caused by the battles that raged shown here as fire and also the snow drops that have forced their way through the charred earth. The wardrobe and light, both key objects from the story each have a place within the composition whilst there are more subtle references such as the rotten apple that is a link to the apple tree that was used to make the wardrobe initially.
These details create the scene and help to identify this darkened piece with Narnia whilst the focal point of the piece and ultimately the concept is Aslan, laying slain and restricted by stone, frozen in time. On first study it is a terribly sad scene, the body position and facial expression of the wounded lion that once ruled the land. Yet when you notice the snowdrops that surround him you will start to realise that maybe all is not lost and that wounds if treated can recover.
This brings me onto the deeper narrative that runs throughout the piece, one that most may not identify as being there but its’ there and makes this piece so much more poignant, powerful and ultimately positive. So much of my work is built around hope, shining a light into the darkest of shadows and this is showcased within ‘For Now I’m Winter’. Depending on experience past or present many will be able to identify with this concept either as the first or third person. Aslan is the person hypothetically wounded and in trouble, surrounded by the effects of the fires that burned around them but ultimately lying on ground where the flames have gone out, where new growth is starting to surround them.
The solitary dove feather that rests on the body represents the lasting impact of a loved ones’ care for the person in trouble, in Winter. The wardrobe is the open door, the escape out of this world, this is an incredibly powerful part. It could the permanent route back when Spring comes, it could be a temporary escape mechanism or it could be much worse when all other doors close. The galloping Fawn who is running away from the fire symbolises those who choose to run rather than help the person in need, something that is sadly all too common. Finally the light represents a pillar of hope and is what we are all drawn to, the light that shines brightest when surrounded by darkness.
For now I am Winter, lungs renew…
-
- Released: 2017
- Collection: Through Darkness & Light
- Edition Size: 45 +5AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 31” x 23"
- Framed Size (Approx): 34” x 27"
-
- Free delivery to UK Mainland
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
For Whom The Bell Tolls (Cinderella) - Large Limited Edition
- Set within the post-midnight hours this piece centers around a huge bell that has smashed down into the pavement, crushing one of the ugly sisters. The bell has KARMA inscribed onto it, playing on the title of the piece - act like you do and time will catch up with you.
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- Released: 2016
- Collection: Storyteller
- Edition Size: 10 + 1AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 29” x 22"
- Framed Size: 42” x 34"