Crushed Like Fruit (The Kite Runner) - Limited Edition
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This piece is proudly on display within the iconic London Playhouse Theatre courtsey of Dark House Studio. (Last few remaining)
What happens in a few days, sometimes even a single day, can change the course of a whole lifetime...
My interpretation of the incredibly powerful story by Afghan-American author Khaled Hosseini is a piece that focuses on the seemingly unbreakable bond between Amir and Hassan in a world where the innocence of youth is King. The Kite Runner was a natural choice for me as the battle between dark and light, evil and good frequently battle for supremicy within my work and Khaled’s narrative fits perfectly. Guilt and redemption feature prominently in the novel with a pivotal scene depicting an act of violence against Hassan that Amir fails to prevent. The latter half of the book centers on Amir’s attempts to atone for this transgression by rescuing Hassan’s son over two decades later.
For me this piece had to focus on the pomegranate tree, upon learning of it’s beautiful significance and multi-layered symbolism for the two boys friendship there was only ever one route for me. “There was a pomegranate tree near the entrance of the cemetery. One summer day, I used one of Ali’s kitchen knives to carve our names on it: ‘Amir and Hassan, the sultans of Kabul’. Those words made it formal: The tree was ours.” The boys saw the tree as their special place and thought that nothing could take the friendship away from them. After the horrible tragedy that Amir witnesses with Hassan where the innocence of youth was stolen and crushed like fruit, the tree no longer holds the same meaning for the two of them. There is only one sin. and that is theft... I have created a scene that has been left wide open for interpretation and one for you to decide whether the tree is indeed dying or fighting back and to establish the links and the significance between the objects that exist within the sand-blown landscape of Kabul.
There is detail that comes out from the shadows, detail that for example might initially look like falling leaves from the dying tree but then move closer and you see that they are actually crows in the distance. Items have been placed next to each other that symbolise the gulf in contrast between fragile beauty and explosive destruction. I particularly love how Khaled set the pomegranate tree within the grounds of a cemetery to convey this powerful play between life and death and everything in-between. There is something intense about how one act, one decision made by you or another can simply crush all that is wonderful and living. I choose the title ‘Crushed Like Fruit’ for how it conveys that very destructive act, how something that is full of good can be so easily and aggressively taken by man’s actions, be that the brutal theft of Hassan’s innocence by Assef or the destruction of a beautiful country with all that remains being an empty shell.
Ultimately despite how intense the shadows may be there will exist light and light shines brightest when surrounded by darkness. It might take longer to make it’s way through but it always finds a way, two decades in this case but I am firm believer that true friendship never dies, it will wither and wilt but those with the strongest, deepest roots have blossomed and born fruit and can resist periods of drought and neglect. -
- Released: 2017
- Collection: Stagecraft
- Edition Size: 12 + 1AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 29” x 22"
- Framed Size: 42” x 34"
- Available exclusively with Dark House Studio
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Carry Me Anew (Ophelia) - Limited Edition
- Ok, I’m not going to pretend to be a devoted fan of William Shakespeare and his works. However, what I do find is that there is always such a strong pull towards taking on a subject due to his ability to create such intense characters that seem to resonate. ‘Carry Me Anew’ is my latest piece that falls within an often overlooked body of work entitled ‘Stagecraft’ that houses other pieces that include the likes of ‘Romeo & Juliet’, ‘A Midsummer Night’s Dream’, ‘Oliver Twist’ and ‘The Woman In Black’.
I have always been aware of other artist’s interpretations of Ophelia and when the brief came in to portray her in my own way I jumped at the chance. Being the follow up commission by Eaton Fine Art, this gave me the opportunity and freedom to further build on the previous piece (and style) ‘I’ll Take My Leave Of You’ that again focused on a female character, Mina from Dracula!
So many of my deeper, and often darker pieces are inspired and driven by incredibly personal and genuine emotions that transform the image, opening it up to a wider audience who are drawn to the character that they see for equally personal and often very different reasons. I genuinely love this and makes me so incredibly proud to be able to create art with such powerful meaning that pulls on people’s heart strings.
Research is always key, what became clear very quickly was the mental health aspect to Ophelia’s character and the ensuing tragedy that followed. Something resonated with me very quickly and powerfully and the more I continued reading, the more things built in my mind and there was only ever one way of portraying her then. What you see in my work is an outpouring of my emotions and thoughts, how I interpret a subject ensures that it will always only ever be unique, genuine and honest. It is how I talk, how I scream and how I heal.
Luckily, the impact of one’s mental health is recognised so much more than before, reasons become clearer and risks become more apparent and therefore offering more chances to save that person. What a truly tragic tale, there was no way could I simply portray her at a final point, others have, but with my narrative that drives my work and the hope that fuels the fire while fanning the flames, there had to be an alternative way of depicting Ophelia.
I wanted to ensure that my emotions didn’t distort things too much, which can mean that you go racing off in a different direction that results in a piece that, whilst still being linked, bears minimal resemblance to the aspirations of the client! So, what we see is Ophelia as a beautiful woman within the water, surrounded by the synonymous weeping willow tree and waterlilies but with those objects given another reason for being there.
The fact that Ophelia drowned fuelled my narrative, a culmination of drowning in so many ways, mentally, emotionally and ultimately, physically. This is a tale of a beautiful woman continually let down and passed off, tricked and blamed, a woman who’s heart was full to bursting yet who’s demons had grown so tall behind her that she struggled to see the white of her walls. A woman that sought beauty but found beast, a woman that desperately needed strength but fell under due to her branch breaking under the ‘weight’ of her. Yet, here exists a woman who continues to breath under water and will break the surface and be carried anew.
So what are we looking at? A drowned woman? Do you see it as Ophelia rising up to heaven and that the title therefore relates to her finding a happier place? From my point of view, absolutely not! What we see is a person who has effectively died through drowning but who’s lungs are now full of hope and is starting to rise upwards towards a more positive state of mind. Look closely and you’ll see the beauty of the lotus flowers but who’s roots swirl around Ophelia’s feet in an attempt to drag her further down and hold her there. Still waters run deep.
Subtle feathers, both white and black fall downwards, signifying the impact of both good and evil. Butterflies flutter around her, further depicting the sense of being transformed and freed, a concept that runs through so much of my works. ‘Carry Me Anew’ can scream or it can whisper, it can grab and shake or gently hug you. However, what it does do is convey that there is life after ‘death’ and to never under-estimate one’s fragility and one’s strength. Write another chapter or simply just help to hold the pen to allow another to write theirs. -
- Released: 2021
- Collection: Stagecraft
- Edition Size: 5 + 1AP in standard, large and canvas editions
- Specification: Limited edition fine art print, hand signed by artist.
- Available exclusively with Eaton Fine Art
Fade To Black (The Woman In Black) - Canvas Limited Edition
£1,295.00
- 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: 5 + 1AP
- 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.
 - Limited Edition&media=https://markdaviesbritishartist.co.uk/cdn/shop/products/MJD_KR_Ltd_Ed_600x.jpg?v=1524062609){kind=link}
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.”
-
- 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.