Lost In Hollywood 1 Original Works
Film recognises neither time nor space, only the limits of man’s imagination
A substantial body of work that acknowledges the brilliant narrative from cult classics and acclaimed movie masterpieces taking them to a different place, suggesting alternative storylines and hinting at darker undertones that reside amongst the shadows of Hollywood.
Ride On (The Magnificent Seven) - Original
- On the surface all seems right and genuine yet look a little closer, delve a little deeper and you’ll see that things really are far from as they should be, as they so easily could be if a mans’ ego could be suppressed and managed. For a good while now Steve McQueen had enjoyed the lime light, been labelled the main man and with the bright lights and hype people flocked to see him at every release. The trouble is that if you are continually told you are the star then the chances of you believing that you are what is written are high and if there is a weakness or flaw in your character then your demon is born and left unmanaged will continue to grow behind you and you ultimately become the victim of your own success and the controller of your own downfall.
Rather than focus on his own craft, McQueen started to become distracted and display signs of petulance against his compatriot Yul Brynner with whom he possibly viewed as a threat, fearing that there was a new sheriff in town effectively and rather than play to one anothers’ strengths for the greater good and benefit of all involved McQueen instead chose to battle for control against someone who was simply there to display his talent with a genuine motivation to see it brought into peoples front rooms. McQueen had clearly lost his head and lost his focus, the battle resided purely in his head but continued to make diva demands that started to fall on def ears of those who had originally pandered to every command in the fear of losing their main man whom they had built up to fill their coffers. Yet in complete contrast Brynner whom many looked at as the understudy just got on with his job that he was paid to do and shone and when quizzed about rumours of a rift simply replied "I never feud with actors. I feud with studios.” In this story the winds of change blow strongly, the monotony of the tumbleweed keeps rolling through before all that remains is dust, ultimately you decide who is the last man standing.
My take on John Sturges’ iconic film is one that is authentic and nostalgic, littered with detail and references to the 'Wild West’ period where the battle between good and bad play out in many ways. Subtle references exist that highlight the unrest between the two men, dark forces are again at work here, yet as ever there exists hope. I wanted to add a different detail to this piece and one that I haven’t introduced to date, as mentioned in my opening paragraph if you look a little more closely the eagle-eyed audience may just spot a few clangers within the scene, deliberately included to embrace the love of finding glaring director-made errors. As a result of the petulance outlined earlier those in charge of bringing a relatively large number of individuals together, each with their own characters and style and getting them to work as a team became distracted and complacency crept in and smaller details were overlooked. I won’t point out what those are but they are clearly there if you look closely.
The devil really is in the detail, ride on! -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Soldiers Of Fortune (The A Team) - Original
- Showcasing the iconic original A-Team TV series
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- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Stuck In The Middle With You (Reservoir Dogs) - Original
- I absolutely love Tarantino and this film especially, this along with Pulp Fiction were films that I studied at College so is great to strike it back up again. There are a number of classic scenes from the films but the warehouse torture one sticks with me, largely down to discovering the Steelers Wheel track so I have gone with this as the base for this piece. I wanted to make clear references to the film but put my take on it so it doesn’t look like I have tried to recreate the scene but used the wrong chair for example.
The scene itself is a classic representation of the iconic scene with the solitary wooden chair taking pride of place - for me it had to be as it is a strong graphic in its’ own right. I have combined a mix of obvious links to the film albeit with a different take on the actual object in instances along with really obscure references where the viewer might have to really think what the reason for inclusion is, perfect for those who genuinely love the film.
The buildings’ walls have references to Jack rabbit Slim, Stanley Kubricks’ The Killing, Madonnas’ Like A Virgin, Scrawled question asking who the F*ck killed nice guy eddie and has been sprayed with bullets and blood. The ceiling has beautiful ageing detail, there is also a reference ‘QT The Class of 92’ referencing the release year, Tarantino initials and the dogs themselves whilst also playing on the Manchester football ties as it is such a well used phrase.
The central chair features blood stains, cracking, smouldering textures to represent the horror that it has played its’ part in. Showing signs of a struggle, the chair has been taped up with the silver tape that was used to gag the police officer. A solitary black tie, pair of shades, LAPD badge sit on the cushion. As does a bottle of Mexican tequila - this is a more subtle clue, referencing the police officers’ nationality and the Mexican stand off that exists within the film.
The film plays out the fear that there is a rat on the loose, identified as Mr Orange - the rat trap with glowing orange light that captivates and entices the rat towards is a cool way of embracing this. I wanted to showcase the quality soundtrack from the film as music especially was so key to the particular scene. So there is an old record player/radio branded ‘TARANTINO’ and is surrounded by objects that relate to songs from the soundtrack - Madonna Like A Virgin, a little green bag, a lime in a coconut and tacos, another gun of the same make lays close by.
Finally further embracing Tarantinos’ love of foreshadowing there are subtle areas of smoke coming into the scene that hint at something being out of view, maybe a cigarette or a gun smoking or a fire about to start? -
- 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"
Sunset Waltz (La La Land) - Original
- What I have done is to create a clear synergy to the film and its’ aesthetics but not to go too close so it ends up looking like an alternative movie poster and also to risk encroaching on any brand protection that is much tighter in the U.S.
So what I have done is create a piece that actually has a different narrative albeit within the same setting, set looking across Los Angeles from the San Fernando hills. My concept is one that I hope would appeal to a greater audience than just those who love the film, where the fact it is linked to the movie is actually only a plus. What I have shown is a beautiful scene of a couple reunited in the stars to dance the waltz, this could be a vision of loved ones from years past who have passed away but from being stood at a viewpoint that has memories attached projects a beautiful vision, so for example remembering parents or grandparents. Possibly also for people who were never able to be together in life for various reasons who come together through death.
The movie theme is linked through showing a projector sat on the hillside amongst the leaves that is where the image is coming from, that is a clear link but also it could open up the concept that it shows past actors and actresses who have passed away but come back to be reunited above the city. The dancers are actually based on Ginger Rogers and Fred Astaire. Sunset Waltz as a title conjures up those emotions, the sense of time and memories fading but all not being lost. I have drawn the LA light map from the city grid using tiny dots, by doing this not only does it give the piece more artistic merit but it creates a feeling that those within the city who also share memories of days gone by are also involved, the subtle detail and cloud like glows reaching upwards give that sense that all of their memories come together to project what you see above.
There are a lot of magical details true to my body of work and style that help to project and carry the images up into the stars. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- Sold with Art Insights - Reston - USA
Teach You I Will (Yoda) - Original
- I have wanted to take on Star Wars for an age as I loved the earlier films as a kid growing up. This piece focuses on Yoda within the misty swamps of Dagobah. As with BALBOA it is an evolution of the silhouetted pieces that I have created to date, even more intense and facial features are brought out through the smoke shapes. I have strived to embrace the translucency and glows from the film within this style and showcase the lighting details that I work with around the sabre.
The little floating detail that I use throughout my work fits perfectly here as it has that moth to the light feel and looks beautiful diamond dusted. The dark side is also represented as an opposing detail with black saturated equivalent floating detail coming out from the shadows and towards the light in places. Every single element is individually layered and the count is 1,977 to coincide with the year of release. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Wax On, Wax Off (Karate Kid) - Original
- I have chosen to create something that has an overriding sense of beauty in the setting and the tones of the piece to offer something different to other pieces and to keep the body of work unique. I wanted to embrace the location of the film as all of those who were a part of the crew and cast did. William Zabka, who played villain Johnny Lawrence in the film, said, “When you get on a set, all that you did in rehearsal, and all that you do to prep, takes on a new life because that location is almost a character itself and it adds to the energy of the scene, and you feed off that.” So for me I wanted to showcase the beauty of the San Fernando Valley and it’s landscape and light.
As Mr Miyagi taught a more theoretical approach and loved to throw in the odd idiom or two I have tackled this piece as a more conceptual delivery to play on that, one where there are clear links to the film but one that has meaning and symbolism. The title of the piece, Wax On Wax Off doesn’t relate to the piece directly but instead counters the conceptual nature of the approach and on first glance the title immediately clarifies the film.
The bonzai tree takes a prominent position within the composition and its’ size has been amplified for impact. I mimicked the iconic badge from the Miyagi dojo and worked in a similar tree, to introduce the large orange sun that is behind the tree on the badge I have created a warm orange glow that radiates from the tree rather than being the sun itself as the image shows the sun is behind shining down the path. The path itself is key to the message as it represents the journey that you go on to achieve your goals (which the tree signifies) and confronting and overcoming the threats that stand in your way, literally on this piece. To bring this concept into the film I have set it so that the path that is in front of Larusso represents his journey to the very top of the sport.
Right in front of him stands a black cobra - this represents the Cobra Kai Dojo that clashed with Larusso and Miyagi all the way through the film, culminating in the tournament itself. The Cobra is the dominant part of the Dojo and has been emblazoned with the words ‘No Mercy’ which is the final point of their motto. The cobra not only creates a focial point to the foreground but represents how Larusso must overcome his fears and out battle it to reach the tree and take the black belt that sits beneath it. The trunk features a linear stack of colours that aren’t just there to enhance the piece visually but to represent the various colour grades of the sport. The beautiful lighting of the tree symbolises not just the wonderful sunlight of the Valley but also the magic that is Miyagi. As a subtle reference to the passing of the man Pat Morita who played Miyagi I have placed a lit lantern with ‘RIP Pat Morita’ on the front.
Miyagis protégé is watched from a far, in the background there is his cherished 1947 Ford Super Deluxe convertible that he then gives to Laursso on his birthday. I have featured key movie cars where relevant as I love it but have chosen to keep this one subtle, as a nicety to spot when studying the piece but where it is quite powerful when you buy into the concept. Either side of the path there is detail that relates to the film, some subtle, some clearer. To the left and right the lighting continues over the bushes in a way that it is done to look like the glow from wild flowers.
I was adamant that I would get a good reference to the Crane kick. I have created two cranes fighting which looks beautiful and violent at the same time, the positioning is perfect and represents the final match between Daniel and Johnny where Larusso on the right delivers the winning kick to take the tournament and the moral victory. -
- 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"
Who You Gonna Call Now? (Ghostbusters) - Original
- I absolutely loved this film as a kid and still do, it is such a great film! For this piece I have tried to not try and go too conceptual, instead just set a scene that people can easily associate to the film and characters.
Basically we see the Ghostbusters HQ at the point where the business is done for and they’ve stopped trying to help the city that they love. As with the film, the good that they they were trying to do was a battle against those who didn’t believe, who wanted to shut them down so it has reached the point where enough is enough and they’ve caught their last ghost. They put their lives on the line from the start and this is the result, their attitude has turned to hate towards those who have brought them to this point so they are ready to undo all the good work that they’ve done, basically bollocks to NYC, have your ghosts back, deal with it yourselves, we’re out.
So my piece shows the impact of that, showing key objects from their work littered about the building in a state of neglect, the wonderfully iconic ECTO 1 sits partly obscured behind a wall, done this way to look almost insignificant despite it’s stature. Computers sit smashed, filing cabinets with drawers flung open, hints of a quick departure are there through the subtle signs of a welders torch left on, just enough time to open the trap and unleash the ghosts back into the city.
The ghosts themselves are represented by beautifully lit details that interact with key elements within the scene, in complete contrast to the evil that lurks from within the basement and that is spilling outwards up the stairs. I always remember the vivid colours from the Proton Packs and the ghosts so I wanted to embrace that through use of these colours throughout the piece that contrast against the sombre mood of the scene itself.
The walls show feint signs of faded murals that add to the history and intrigue of the building, and the light spilling into the room as with other pieces represents hope and the possibility that maybe all is not lost. For me the piece is a different yet clearly recognisable take on an absolute classic film that embraces the fact that the featured ghosts weren’t actually that scary, apart from the odd one, or two! -
- 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"
Why'd It Have To Be Snakes (Indiana Jones) - Original
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:...
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You Have No Power Over Me (Labyrinth) - Original
- This is my interpretation of the incredibly iconic Labyrinth that starred David Bowie, I bloody loved this film and have great memories of watching this as a kid at Christmas. I have wanted to tackle this classic for a good while, I chose not to in late 2016 for my previous Lost in Hollywood collection as I wanted enough time to elapse after Bowie passed and to be able to create a classy tribute to the legend whilst also doing the film itself justice.
I have chosen to focus on the surreal Jareth’s ball scene from the movie, the option to show within the maze itself was there but I wanted to do something much lighter, more classic. I set out wanting to create a beautiful, dream-like piece that is visually light but has dark forces working throughout the scene to mimic the qualities of the film that was unquestionably equally dark as it was bizarre.I constructed the scene from scratch, utilizing parts of images that I saw potential in that allowed me to build my ballroom to match what I had in my head, one that drew from the characteristics of the one shown in the film but to take it to where I wanted to go. The composition channels the eye through the scene and up and out to the top of the steps to a point where you use your imagination to decide what is through the forest. This perspective creates a sense of journey that was key to the narrative, culminating in thirteen steps to the staircase - a nod to the thirteen hours that Sarah had to defeat the Goblin King.
There are subtle references within the scene that are from the film or an interpretation of elements, I will leave you to find these. The darkness that runs throughout is represented not just by traces of blackened smoke but by the thorns that weave down stone balustrades and break through the walls. This creates a dramatic contrast to the whimsical ballroom whilst also showing a continuation to past pieces such as ‘Marry Me Bitch’ and ‘Where Demons Roam’. The lead focus to the piece and to the concept is the open cage that sits on the stone column. The owl is shown flying away which hints at the Goblin King being defeated at the thirteenth hour.This leads onto the underlying concept that I have introduced into this piece in that the cage represents Bowie’s disease that restricted him, the open door and the owl in flight symbolizes his passing and being free again. A single dove feather sits within the cage, you might expect this to be an owl feather but it is a dove to signify not being alone. I feel the owl in flight is a powerful image in itself but when you then look at it from this angle then it gives the piece a subtle and poignant quality where an iconic film, and genuine icon are have been respected.
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- Released: 2017
- 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"
You’re Gonna Need A Bigger Boat (Jaws) - Original
- I wanted to approach it in a completely different way, embracing the ‘two sides to every story’ viewpoint. The piece is portrait to allow me to create depth in the ocean and to run inline with the classic movie poster. It is a completely different perspective to what I have done before, as you look up towards the surface. The boat is based on the ‘ORCA’ from the film, I even looked at the original plan drawings of the model to gauge proportions and shape.
So what we have is a classic scene that is relating to the narrative where the boat is on the hunt for Jaws, with yellow barrels of explosives cast overboard. Trails of blood mix with water from their attempts to lure the shark in. Here is where I take it to a different place, through the use of beautiful lighting, colour and detail I have made the bottom of the boat (the target) beautiful and intriguing to the shark, is it just intrigued and only able to communicate with its mouth?
A diesel spill runs downwards through the water creating another source of confusion and attraction to the shark. There is a rusted oil drum plummeting through the water just in front of the shark that has a subtle leak of toxics that escape and leave their mark. So at this point is it purely intrigue that lures it to the surface and to the source? There then resides a darker layer as you notice the shadowed shark circling the boat from underneath.
A subtle trail of blood infiltrates the water close by, suggesting something has been bitten or worse out of view. If you then look at the trail of diesel, there are a number of skeletal fish that swim amongst the toxic trail, killed by the shark, or killed by the real source of evil in the water? What is the actual stain on nature?
This angle then opens up the question that exists where people strongly believe that sharks are misunderstood and antagonised by human actions, possibly for ones own benefit where lies and scaremongering exist. When you look at it from this angle then the items in the water such as the barrels etc aren’t to lure off the shark but are a representation of mans’ wrong doing. -
- 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"