Full Portfolio
Not All Who Wander Are Lost (Lord Of the Rings) - Large Limited Edition
£545.00
- You’ll know I never shy away from a beautiful forest scene when I am looking at creating an enchanting piece and here is one that really is wonderful. I spend considerable time looking into the filming locations for The Lord of the Rings and there were two front runners - the Mararoa River and the enchanting Fangorn Forest, both in New Zealand. My 2017 piece entitled ‘Gandalf’s Brought F*cking Cake!’ was really vibrant and quirky and for this current installment I wanted to do something completely beautiful in contrast to the other two bold and brutal pieces of this collection. From those who have studied my portfolio you will see a good number of horses featured and you will be forgiven to think that I am a keen rider yet no, no chance! However, I find them incredibly powerful and mysterious and perfectly fitting for this scene where we see Gandalf’s horse ‘Shadowfax’ galloping through the trees towards you. This was always going to be a piece that wasn’t crammed full of references instead using the intensity of the forest and scenery to draw you in. There are subtle details that stop you in your tracks and changes things completely, again showing how darkness can reside in such close proximity to the light. Key characters feature within the piece, some more blatant than others but a powerful addition to my work as they make strong eye contact with you which I love. The longer you study this piece you will hopefully see the relevance to the title and apt saying that ‘Not all those who wander are lost’, a classic example of how my work can take on a new dimension from a secondary, more personal narrative that is woven into the concept. I will leave it to you to interpret what you see how you wish.
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- Released: 2020
- Collection: Love Knows No Bounds
- 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.
Not All Who Wander Are Lost (Lord Of the Rings) - Standard Limited Edition
£315.00
- You’ll know I never shy away from a beautiful forest scene when I am looking at creating an enchanting piece and here is one that really is wonderful. I spend considerable time looking into the filming locations for The Lord of the Rings and there were two front runners - the Mararoa River and the enchanting Fangorn Forest, both in New Zealand. My 2017 piece entitled ‘Gandalf’s Brought F*cking Cake!’ was really vibrant and quirky and for this current installment I wanted to do something completely beautiful in contrast to the other two bold and brutal pieces of this collection. From those who have studied my portfolio you will see a good number of horses featured and you will be forgiven to think that I am a keen rider yet no, no chance! However, I find them incredibly powerful and mysterious and perfectly fitting for this scene where we see Gandalf’s horse ‘Shadowfax’ galloping through the trees towards you. This was always going to be a piece that wasn’t crammed full of references instead using the intensity of the forest and scenery to draw you in. There are subtle details that stop you in your tracks and changes things completely, again showing how darkness can reside in such close proximity to the light. Key characters feature within the piece, some more blatant than others but a powerful addition to my work as they make strong eye contact with you which I love. The longer you study this piece you will hopefully see the relevance to the title and apt saying that ‘Not all those who wander are lost’, a classic example of how my work can take on a new dimension from a secondary, more personal narrative that is woven into the concept. I will leave it to you to interpret what you see how you wish.
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- Released: 2020
- Collection: Spellbound
- 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.
Not All Who Wander Are Lost (Lord Of the Rings) - The Original
£4,250.00
- You’ll know I never shy away from a beautiful forest scene when I am looking at creating an enchanting piece and here is one that really is wonderful. I spend considerable time looking into the filming locations for The Lord of the Rings and there were two front runners - the Mararoa River and the enchanting Fangorn Forest, both in New Zealand. My 2017 piece entitled ‘Gandalf’s Brought F*cking Cake!’ was really vibrant and quirky and for this current installment I wanted to do something completely beautiful in contrast to the other two bold and brutal pieces of this collection. From those who have studied my portfolio you will see a good number of horses featured and you will be forgiven to think that I am a keen rider yet no, no chance! However, I find them incredibly powerful and mysterious and perfectly fitting for this scene where we see Gandalf’s horse ‘Shadowfax’ galloping through the trees towards you. This was always going to be a piece that wasn’t crammed full of references instead using the intensity of the forest and scenery to draw you in. There are subtle details that stop you in your tracks and changes things completely, again showing how darkness can reside in such close proximity to the light. Key characters feature within the piece, some more blatant than others but a powerful addition to my work as they make strong eye contact with you which I love. The longer you study this piece you will hopefully see the relevance to the title and apt saying that ‘Not all those who wander are lost’, a classic example of how my work can take on a new dimension from a secondary, more personal narrative that is woven into the concept. I will leave it to you to interpret what you see how you wish.
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- Released: 2020
- Collection: Spellbound
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
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- Get in touch for overseas delivery
- Available for immediate despatch!
OH :( (The Magic Faraway Tree) - 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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Old Skin (Silence Of The Lambs) - Canvas Limited Edition
£1,195.00
- 'I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start.
For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?
I am a firm believer that people aren’t born bad, something has to happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is pretty extreme to say the least.
The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.
The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.
The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit, but treated in a way that it wouldn’t deter people.
However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light.Whilst the piece was coming together it started to remind me of one of the old drawings of species with the moth laid out and hand drawn detail surrounding it. What I then did was to further support Gumbs’ desire to be a woman and the end game that he was refused, if you look closely there is a hand drawn illustration of the female reproductive system - flipped so that the moth didn’t look like he was entering it! Just a subtle detail that adds another layer to the piece. There is a pile of make up powder on the canvas to link to Gumbs’ extravagant side and attempts to disguise.
Finally as his work was viewed by himself as an art I have added a signature bottom right ‘James Gumb’ with the ’s’ smudged out to mimic his mothers error when registering him. Something very simple but intriguing about the sign off.
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- Released: 2020
- Collection: Lost In Hollywood
- Edition Size: 10 + 2AP
- Specification: Hand embellished heavyweight artist canvas, double framed, hand signed by artist.
- Image Size: 37” x 26"
- Framed Size (Approx): 41.5” x 32"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Old Skin (Silence Of The Lambs) - Hand Embellished Large Limited Edition
- 'I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start.
For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?
I am a firm believer that people aren’t born bad, something has to happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is pretty extreme to say the least.
The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.
The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.
The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit, but treated in a way that it wouldn’t deter people.
However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light.Whilst the piece was coming together it started to remind me of one of the old drawings of species with the moth laid out and hand drawn detail surrounding it. What I then did was to further support Gumbs’ desire to be a woman and the end game that he was refused, if you look closely there is a hand drawn illustration of the female reproductive system - flipped so that the moth didn’t look like he was entering it! Just a subtle detail that adds another layer to the piece. There is a pile of make up powder on the canvas to link to Gumbs’ extravagant side and attempts to disguise.
Finally as his work was viewed by himself as an art I have added a signature bottom right ‘James Gumb’ with the ’s’ smudged out to mimic his mothers error when registering him. Something very simple but intriguing about the sign off.
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- Released: 2016
- Collection: Lost In Hollywood
- Edition Size: 10 +1AP
- Specification: Hand Embellished Deluxe limited edition deckled fine art print, hand signed by artist.
- Image Size: 37" x 24"
- Framed Size (Approx): 47” x 35"
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- 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.
Old Skin (Silence Of The Lambs) - Original
- I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start.
For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?
I am a firm believer that people aren’t born bad, something has to happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is pretty extreme to say the least.
The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.
The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.
The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit, but treated in a way that it wouldn’t deter people.
However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light.Whilst the piece was coming together it started to remind me of one of the old drawings of species with the moth laid out and hand drawn detail surrounding it. What I then did was to further support Gumbs’ desire to be a woman and the end game that he was refused, if you look closely there is a hand drawn illustration of the female reproductive system - flipped so that the moth didn’t look like he was entering it! Just a subtle detail that adds another layer to the piece. There is a pile of make up powder on the canvas to link to Gumbs’ extravagant side and attempts to disguise.
Finally as his work was viewed by himself as an art I have added a signature bottom right ‘James Gumb’ with the ’s’ smudged out to mimic his mothers error when registering him. Something very simple but intriguing about the sign off.
-
- Released: 2016
- 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"
Old Skin (Silence Of The Lambs) - Standard Limited Edition
£395.00
- 'I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start.
For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?
I am a firm believer that people aren’t born bad, something has to happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is pretty extreme to say the least.
The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.
The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.
The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit, but treated in a way that it wouldn’t deter people.
However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light.Whilst the piece was coming together it started to remind me of one of the old drawings of species with the moth laid out and hand drawn detail surrounding it. What I then did was to further support Gumbs’ desire to be a woman and the end game that he was refused, if you look closely there is a hand drawn illustration of the female reproductive system - flipped so that the moth didn’t look like he was entering it! Just a subtle detail that adds another layer to the piece. There is a pile of make up powder on the canvas to link to Gumbs’ extravagant side and attempts to disguise.
Finally as his work was viewed by himself as an art I have added a signature bottom right ‘James Gumb’ with the ’s’ smudged out to mimic his mothers error when registering him. Something very simple but intriguing about the sign off.
-
- Released: 2016
- Collection: Lost In Hollywood
- Edition Size: 45 +5AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 26" x 18.5"
- Framed Size (Approx): 33.5” x 25.5"
-
- 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.
Old Skin (Silence Of The Lambs) - VHS Limited Edition
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EDITION SOLD OUT - GET IN TOUCH TO DISCUSS COMMISSIONED OPTIONS
'I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start.
For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?
I am a firm believer that people aren’t born bad, something must happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is extreme to say the least.
The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.
What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold, and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.
The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.
The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit but treated in a way that it wouldn’t deter people.
However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely, you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light.
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- Released: 2021
- Collection: Lost In Hollywood VHS
- 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.
One More Round (Rocky) - Canvas Limited Edition
£1,195.00
- Back in 2016 as part of my Lost in Hollywood collection I created a dramatic silhouette of Rocky with his arm punching the air, there was only ever one choice of pose for that piece and the reaction was amazing. A more recent highlight was creating a tailored version for Josh Warrington - the IBF World Featherweight Champion.
A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows.
This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters.
The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.
Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”
Keep fighting!
-
- Released: 2020
- Collection: Lost In Hollywood 2
- Edition Size: 10 + 2AP
- Specification: Hand embellished heavyweight artist canvas, double framed, hand signed by artist.
- Image Size: 37” x 26"
- Framed Size (Approx): 41.5” x 32"
-
- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
One More Round (Rocky) - Large Limited Edition
£445.00
- Back in 2016 as part of my Lost in Hollywood collection I created a dramatic silhouette of Rocky with his arm punching the air, there was only ever one choice of pose for that piece and the reaction was amazing. A more recent highlight was creating a tailored version for Josh Warrington - the IBF World Featherweight Champion.
A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows.
This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters.
The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.
Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”
Keep fighting!
-
- Released: 2019
- Collection: A New Chapter
- Edition Size: 20
- 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.
One More Round (Rocky) - Original
- Back in 2016 as part of my Lost in Hollywood collection I created a dramatic silhouette of Rocky with his arm punching the air, there was only ever one choice of pose for that piece and the reaction was amazing. A more recent highlight was creating a tailored version for Josh Warrington - the IBF World Featherweight Champion.
A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows.
This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters.
The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.
Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”
Keep fighting!
-
- Released: 2019
- Collection: Lost In Hollywood 2
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
One More Round (Rocky) - Standard Limited Edition
£315.00
- Back in 2016 as part of my Lost in Hollywood collection I created a dramatic silhouette of Rocky with his arm punching the air, there was only ever one choice of pose for that piece and the reaction was amazing. A more recent highlight was creating a tailored version for Josh Warrington - the IBF World Featherweight Champion.
A sequel to BALBOA was always on the cards but it had to be a scene piece to tell the story and allow me to inject my signature style of touching on the darker side of the character and the world that he resided within. The more I researched the concept it grew stronger and stronger and an absolute must.Set within Micky’s Gym (or my interpretation of it!) an imposing boxing ring dominates the room, bloodied and stark it pulls no punches as to the harshness of the pursuit to a means to an end, a way out from the shadows.
This piece casts light onto Rocky’s dark side and into the world that he resides, through circumstance rather than choice. Key details are positioned that combine to cast shade onto the light at the end of the tunnel. There are references to the thoughts and demons that go toe-to-toe with him daily, where he is fighting against his self-doubt as well as the doubters.
The composition shows the closeness that darkness and light reside and how failure is merely an arm’s length away from victory, when you choose to pick up the bottle or bat. When you’re down and out and on the ropes trading blows with life it’s all about drawing on that inner strength to get back out there.
Whether you’re driven by hate or consumed by fear, draw strength in the key quality that you have, that talent and bloody well go for it. ‘One More Round’ personifies the following quote: “The world ain’t all sunshine and rainbows. It’s a very mean and nasty place... and I don´t care how tough you are, it will beat you to your knees and keep you there permanently, if you let it. You, me or nobody, is gonna hit as hard as life. But ain’t about how hard you hit... It’s about how hard you can get hit, and keep moving forward... how much you can take, and keep moving forward. That´s how winning is done. Now, if you know what you worth, go out and get what you worth. But you gotta be willing to take the hits. And not pointing fingers saying: You ain´t what you wanna be because of him or her or anybody. Cowards do that and that ain´t you! You´re better than that.”
Keep fighting!
-
- Released: 2019
- Collection: Lost in Hollywood 2
- Edition Size: 45
- 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.
OUTAAIR (Back To The Future) - Canvas Limited Edition
£1,195.00
- This is a surreal interpretation of the brilliant Back To The Future films entitled ‘‘OUTAAIR’. Continuing on from my previous pieces inspired by the legendary franchise and embracing the iconic Delorean time machine what I have done is to create a very different scene that is inspired by one of the most memorable scenes from the first movie, the Enchantment Under The Sea dance that saw Marty’s parents-to-be get together for the first time with a little help from the main man himself.
The Delorean has featured in varying extents within all of my Back To The Future Pieces to date but I have always been keen to show it in it’s flying state. I wanted to create something very different however, to literally place the dance under the sea, why not?! I have created several pieces that are set underwater and have enjoyed the challenge to achieve that effect where the objects truly look like they are surrounded by water, I wanted to create a piece that looked really cool and nostalgic but that had a beautiful and magical quality to it, to ideally open the appeal of the image to a wider audience.
What we see is the moment that the Delorean is rising up from the sea bed and heading up to the surface for air, what happens after this or what kick started it is open to interpretation, I’ve simply set the scene. Key details from the dance are positioned on the ocean floor with the glow of the lights in the distance hinting at a stage, there is a sense of movement from the shifting sands caused by the Delorean, exposing further details. Something that is always key for me is to unify the objects that exist within the scene, so that they aren’t just static, what I feel has worked really well is the introduction of the various sea life that interact with the detail and really add something lovely to the scene, as the classic line reads, this is one for all you lovers out there! -
- Released: 2020
- Collection: Spellbound
- Edition Size: 10 + 2AP
- Specification: Hand embellished heavyweight artist canvas, double framed, hand signed by artist.
- Image Size: 37” x 26"
- Framed Size (Approx): 41.5” x 32"
-
- 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.
OUTAAIR (Back To The Future) - Hand Embellished Large Limited Edition
£650.00
- This is a surreal interpretation of the brilliant Back To The Future films entitled ‘‘OUTAAIR’. Continuing on from my previous pieces inspired by the legendary franchise and embracing the iconic Delorean time machine what I have done is to create a very different scene that is inspired by one of the most memorable scenes from the first movie, the Enchantment Under The Sea dance that saw Marty’s parents-to-be get together for the first time with a little help from the main man himself.
The Delorean has featured in varying extents within all of my Back To The Future Pieces to date but I have always been keen to show it in it’s flying state. I wanted to create something very different however, to literally place the dance under the sea, why not?! I have created several pieces that are set underwater and have enjoyed the challenge to achieve that effect where the objects truly look like they are surrounded by water, I wanted to create a piece that looked really cool and nostalgic but that had a beautiful and magical quality to it, to ideally open the appeal of the image to a wider audience.
What we see is the moment that the Delorean is rising up from the sea bed and heading up to the surface for air, what happens after this or what kick started it is open to interpretation, I’ve simply set the scene. Key details from the dance are positioned on the ocean floor with the glow of the lights in the distance hinting at a stage, there is a sense of movement from the shifting sands caused by the Delorean, exposing further details. Something that is always key for me is to unify the objects that exist within the scene, so that they aren’t just static, what I feel has worked really well is the introduction of the various sea life that interact with the detail and really add something lovely to the scene, as the classic line reads, this is one for all you lovers out there! -
- Released: 2017
- Collection: Spellbound
- Edition Size: 10 + 1AP
- Specification: Hand embellished, deckled deluxe limited edition fine art print, hand signed by artist.
- Image Size: 37” x 24"
- Mounted Size: 44” x 32"
- 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.