Storyteller
Inspired by the classic stories from our childhood
Confronting the powerful and often disturbing undertones set out by the original authors such as the ‘Brothers Grimm’ and Hans Christian Andersen, these are embraced through a surreal visual representation like no other. Pieces are fused with topical messaging and intense detail, combining grit and darkness with beauty and light that creates an intriguing and thought provoking digital statement.
A Minute Past Midnight (Cinderella) - Limited Edition
- Captured in mid transition, Cinderellas Pumpkin coach has come to rest on the cobblestones under the glow of the Italian night sky. This piece is a concept of time, embracing the reality of how quickly things can change. Rags to riches and right back again. Fools gold?
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- Released: 2016
- Collection: Storyteller
- Edition Size: 25 + 1AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 21.5” x 16.5"
- Framed Size: 29.5” x 25"
A Minute Past Midnight (Cinderella) - Original
- Captured in mid transition, Cinderellas Pumpkin coach has come to rest on the cobblestones under the glow of the Italian night sky. This piece is a concept of time, embracing the reality of how quickly things can change. Rags to riches and right back again. Fools gold?
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- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
A New Dawn (Oliver Twist) - Original
- My original intention when planning this trilogy of works on Charles Dicken’s novel was for this third piece to be a gritty street scene where things hid in the shadows of the slums and showing key details as a focal composition. However the more I worked on this series and became immersed in the narrative whilst forming my own I chose to leave that for several reasons. As a piece it would have and can still work really well but there was a fear that it could just become an image of similar ilk to the hugely popular Asassins Creed video game as that is set within the same period. More importantly though, as my concepts evolved and my narrative built I felt that they were tracking the journey of Oliver and so many of the unfortunate ring fenced souls who would be destined to have no destiny. The complexity and richness of Dicken’s novel means that so many more pieces could and still can be born from his narrative but for now, the end has been laid down in complete and utter open-endedness to leave you be to write the next chapter. This piece showcases the point where the darkest of nights is overpowered by a single selfless act and the sun rises into a new dawn.
Looking back to my childhood I can’t remember whether I read the book in full, or a simplified version of it before I saw the 1968 screen interpretation but images from that are still vivid, something that wasn’t difficult to watch at that age turned really dark when you witness the murder of Nancy, a prostitute and thief on the bridge by her ‘lover’ and pimp Bill Sykes, come to think about it my studio landlord is called William Skyes, simply known as Bill - uh oh! It was so easy to feel fondness towards Nancy, a rose that fell from the thorns that surrounded it, a true example of why not to judge a book by it’s cover. Seeing, or not fully seeing her brutal murder was the scene that made me feel really sick, it may well have been the first example on TV that I saw someone murdered, maybe that would be less impactful in today’s culture at that age but for me, back then it stuck. So my choice was made, to create a piece that showcased Nancy’s selfless act where she chose to almost silently pay the ultimate price for protecting Oliver and to give him hope and freedom from Fagin’s gang. The selfless hoare.
On research into the novel when planning this piece it became apparent that Dickens was infatuated by a real-life murder of a Eliza Grimwood, one of the most shocking and infamous of all 19th-century murders. When the Jack the Ripper murders started 50 years later the Daily Telegraph said that if you want to know how ghastly these Whitechapel murders are, they are as bad as the Grimwood murder. The scene where Nancy was murdered also has a deeper resonance. It was one of the novelist's favourites, and in his later stage shows Dickens re-enacted the encounter with dangerously energetic vigour. The effect on his health was serious and close friends blamed the scene for his early death from a stroke at the age of 58. Ultimately I have opted to portray Nancy’s sacrifice to set Oliver free rather than the murder itself, instead leaving behind subtle and poignant details from her character whilst placing a subtle reference to the real-life victim Eliza. The first two pieces were multi-layered where I left detail to show that what you were looking at wasn’t actually set within that Victorian era, instead placing the scene much more current and pointing a finger at the issues that evolved rather than being a subject for History lessons. For ‘A New Dawn’ I wanted to make it conceptual again but in a way that depicted the tide of change rising and sweeping in, washing away at the past and it’s pain.
‘A New Dawn’ shows the serene waters of the Thames as the sun breaks through over the stunning St Paul's dome, an ever-present detail within each of the three pieces in this series, a shining beacon of wealth and hope of the minority amongst the darkest and bleakest slums for the masses. A cracking wooden jetty is slowly being engulfed by the rising waters, a darker mind may look at the scene as showing goodness being swallowed up whilst others may take a view that what you see signifies a cleansing process, the uncertainty being what remains when the waters recede. What has gone for ‘good’ whilst what detail refuses to be wiped, what demons resist, what sinks to the bottom in the hope that it won’t be dredged and pulled back to the surface.
This piece is a beautiful example where hope and light resonates and the darkest of detail is diluted with the overwhelming healing influence from one lost person to another. The detail within the piece is designed to be left open to interpretation but the overriding concept being that you see Oliver walking away from his present towards you, taking off his shoes and hat before walking barefoot out of sight and into his future. A single black boot and a rose that rests against it is what remains of Oliver’s saviour whilst the darkness that surrounded her in life and her murder remain. Withering rope floats in the water, a link to the galleon anchored in the morning mist and a link to the first piece in the series ‘Money For Old Rope’. The message in the bottle could possibly be a story untold by the author who passed away likely as a result from acting out the hurt, or it could possibly be an open letter to Eliza. Caps that float partly submerged in the waters might be for some viewed as harsh, depicting children lost, lost yes but more likely a symbol of how those less fortunate than Oliver were resigned to being effectively lost and pulled down within the criminal underworlds of the city, victims of society.
I guess ultimately my aim was to create something that was intense, powerful in impact and thought-provoking where something so good could come from something so tragic. For those who really know my work and have taken time to understand some of the most poignant details within my pieces will hopefully embrace the sentiment shown, in this instance the devil isn’t within the detail, far from it, all that is good sweeps in, born from the ever increasing need to know that all hope is not lost. There is something really lovely about the continuous ebbing and flowing of the tides, in sync with each new day and it’s rising sun, a detail that can’t be erased and a silent acknowledgment and comfort that with each night comes our new dawn, we just need to have our eyes open to embrace it. -
- Released: 2017
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- Sold with Images In Frames - Wanstead
An Eye For An Eye (Wizard of Oz) - Original
- This piece depicts the scene that involves the Wicked Witch of the West melting after having water thrown on he by young Dorothy. The piece is set within the witches castle with an open window (from where the witch spies for intruders - in this case Dorothy, Toto, the lion, tin man and scarecrow.) The window has a striking view across the landscape and towards the emerald city in the distance.
My intention was to construct a stone pillared room that creates two opposing sides to the room and allows for a good vs evil set up to the piece where the two meet in the middle and ultimately is where the witch melts away.
I have explored the witches character within the piece, referencing her evil traits contrasted with childlike fears of darkness and water, although we learn that the real fear of water is the fact that being so rotten and old her blood has dried up causing her body to melt when coming into contact with a liquid so pure as water. Where does this fear of the dark come from? Could it be brought from past experiences as a child, is this why she is so full of hate and determined to inflict pain and obtain control through her winged slaves and terrifying killer black bees, wolves and crows? Through subtle objects and scrawled detail within the scene it make you question this, is she rotten it the core or just damaged?
The title for the piece 'An Eye For An Eye' represents the little known detail that the witch actually only had one eye (and wasn't green!) whilst also representing the fact that Dorothy accidentally killed the witch in retaliation for having her dog hit by the witch and having her beautiful shoes stolen by the witch (another attempt to gain more power and control).
The scene shows the scenario once all characters have gone, where fires still burn but light fills the room. When I am creating such pieces I prefer to leave enough open to change and adapt to how it evolves and build in new additions that come to me from being immersed in the concept and the scene itself.
There are intriguing details such as Dorothy's shoe, discarded tin, burnt straw, bucket, telescope (the witches eyesight was so strong it was like a telescope - perfect for spotting her prey), fire, shadows and an umbrella that she favoured to protect from water).
In summary this was a great opportunity to create a really striking piece that embraces the interaction between good and evil and the blurred lines that exist there, Dorothy's personality comes across as adorably innocent but still waters run deep...
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- Released: 2018
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Appetite For Destruction (The Wind In The Willows) - Original
- I have wanted to tackle this series for a good while now as I loved it as a kid and there is so much potential to create a series of pieces because of the strength and diversity of the characters alone. The fact that it is wonderfully British makes it even more appealing. I have chosen to explore and illustrate the mindset of my favourite character - Toad, creating a scenario that is a consequence of how his life plays out that relates to how he is portrayed within the narrative. By focusing on this angle it makes for a more interesting body of work rather than simply showing a scenic interpretation of the original. The title ‘Appetite for Destruction’ links to Toad unwittingly setting himself up to self destruct through the choices that he makes that become an obsession and a real hunger.
Toad is the crazy one, the one who lived the lavish lifestyle with eccentricity and carnage. His battle with the Weasels always interested me and it was always about him and his sports car thundering around the lanes as well as Toad Hall that had a strong presence, the name alone is great. So based on that I have set this piece at the point where this lifestyle implodes and self destructs, the negatives associated from mis-managing his assets and finances come to a head and leave him at the brink. I have left enough open within the piece for you to decide exactly why he has reached this point of despair but the role of the Weasels is one that is suggested at being a metaphoric representation of those who have come after his assets to call in the debt (sparked by the Weasels battling with Toad to take over his home). This is depicted subtly on the sports car where Toad has scrawled ‘You Win you weasely bastards’
The scene itself shows Toad Hall on fire, not completely as it has just been started, by Toad - is it to claim on his insurance for monetary gain or as a desperate last resort where if he cant have it no weasel can? The same applies to his beloved sports car ( a classic Jaguar for a strong British appeal). It is up to you to choose whether you see dark or light in his character and his actions. For me personally, I think there is light there, an innocence and naivety. That is why I have laid a single dove feather on the door of the car and shone sunlight breaking through the willow tree, subtle so as not to dictate.
The car itself has just been driven into the field and comes to rest in the foreground. I have avoided cluttering the car with too much detail out of respect for such a classic and respected icon. However there are subtle areas of interest that links to Toad and hints at what is going on. Under the willow tree you can see a pile of freshly dug earth but I have left it open to interpretation as to what could be the reason for this, close to the shovel that is propped up against the bumper there is the open book, Toads’ flat cap, open book, his polkadot bow-tie and rope, this item alone makes you question whether something more sinister or desperate is being played out. Look closely and you will see a single toad hidden against the earth.
The car shows subtle evidence of neglect, not through choice but hints at a struggle for money, this is his cherished possession so it hurts him to not be able to look after it as he would want. Subtle areas of the paint are rusting and cracking, I again chose not to over-do this out of respect for the car itself. On the bonnet itself are Toads’ iconic driving goggles, lavish and expensive. The inclusion of the crow swooping down to take them is a reference to him having his prized personal belongings taken from him, almost opportunist like.
If you look closely on the paintwork of the car you will see petrol marks running down parts of the panelling which clarifies the fate of the car and links to the foreground detail. Here you see a beaten up petrol can that has lots of texture and subtle detail, toad silhouettes and the Guns and Roses ‘Appetite for Destruction’ album artwork that links to the title of the piece, such a great album. Toads’ driving gloves, stained with petrol, a recently lit rag and ornate gold lighter sit close by. Look closely and the label on the lighter has the Hell symbol and the scrawled message ‘BURN IN HELL’ which further adds to the darkness through frustration and desperation. Finally the single Matryoshka doll rests on its’ side amongst the long grass (a link to my first published collection).
In summary I set out to create a piece that was intriguing, very different to what exists and one that was classically British, a piece that makes you think and one that will hopefully show the potential for a select series of work whilst being iconic in its’ own right. -
- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Cast Off Your Shackles (Mary Poppins) - Canvas Limited Edition
£1,295.00
- With this piece I wanted to focus on creating emotion and feeling within the scene rather than a deep concept. The horse that takes centre stage shows so much emotion and is deep in thought, majestic almost. My aim is to first see the beautiful horse in its’ surroundings and then notice the pole, painted saddle and the cracked skin to reveal signs of a darker past. Now that the horse has broken free it has cast off the shackles of yesterday and embracing the freedom that comes from that.
This is mirrored by the suggested relationship between Mary and Bert which shows a number of references to this and how they have brought what was once hidden into the open for all to see! Objects within the grass that typically shock are made to look beautiful as this is how the two love birds see what they have between each other.
What I have created is a scene based on the original narrative that is set in parkland on a beautiful English Summers’ day with the dome of St Pauls showing over the treetops. A racecourse extends across the composition with riders and horses thundering by. Light as always plays a key role here creating warmth and calm whilst the brighter areas are there to represent hope.
Butterflies flutter around the pole moving upwards, the style of these has been done in a way that relates to the flat colours of those used in the film as contrast to the background. Dandelions fill the grass to enhance the lightness and delicateness of the piece, there are tiny seed details where they are floating upwards. In the background there is Mary Poppins’ carpet bag and the white umbrella that she held within the park / fair scene with subtle hints of magical detail surrounding it. Birds are a key part of the film and I have includes two within the softened background, as well as Berts’ blue bow-tie that rests against Mary’s bag. Nestled within the grass is the signature Matryoshka doll that references my first published collection.
Key characters from the story stand within the long grass, a disgruntled turtle and some penguins, of course! I deliberately left until last as it was a case of how on earth do you introduce such characters into such a beautiful scene without it looking random and stark. So what I have done is create a connection between one of the penguins and the horse where they are fixed on each other. There is subtle dream-like lighting detail and icons that are radiating off the penguin leading upwards to the horse, it creates something really wonderful and more importantly a talking point as to what is going on and why there is such a lovely affiliation.
For me it epitomises what I am conveying through this image, beauty, intrigue, freedom, hope and subtle randomness. The two central penguins are deep in conversation, possibly gossiping about their love-struck friend!
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- Released: 2021
- Collection: Storyteller
- 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.
Cast Off Your Shackles (Mary Poppins) - Original
- With this piece I wanted to focus on creating emotion and feeling within the scene rather than a deep concept. The horse that takes centre stage shows so much emotion and is deep in thought, majestic almost. My aim is to first see the beautiful horse in its’ surroundings and then notice the pole, painted saddle and the cracked skin to reveal signs of a darker past. Now that the horse has broken free it has cast off the shackles of yesterday and embracing the freedom that comes from that.
This is mirrored by the suggested relationship between Mary and Bert which shows a number of references to this and how they have brought what was once hidden into the open for all to see! Objects within the grass that typically shock are made to look beautiful as this is how the two love birds see what they have between each other.
What I have created is a scene based on the original narrative that is set in parkland on a beautiful English Summers’ day with the dome of St Pauls showing over the treetops. A racecourse extends across the composition with riders and horses thundering by. Light as always plays a key role here creating warmth and calm whilst the brighter areas are there to represent hope.
Butterflies flutter around the pole moving upwards, the style of these has been done in a way that relates to the flat colours of those used in the film as contrast to the background. Dandelions fill the grass to enhance the lightness and delicateness of the piece, there are tiny seed details where they are floating upwards. In the background there is Mary Poppins’ carpet bag and the white umbrella that she held within the park / fair scene with subtle hints of magical detail surrounding it. Birds are a key part of the film and I have includes two within the softened background, as well as Berts’ blue bow-tie that rests against Mary’s bag. Nestled within the grass is the signature Matryoshka doll that references my first published collection.
Key characters from the story stand within the long grass, a disgruntled turtle and some penguins, of course! I deliberately left until last as it was a case of how on earth do you introduce such characters into such a beautiful scene without it looking random and stark. So what I have done is create a connection between one of the penguins and the horse where they are fixed on each other. There is subtle dream-like lighting detail and icons that are radiating off the penguin leading upwards to the horse, it creates something really wonderful and more importantly a talking point as to what is going on and why there is such a lovely affiliation.
For me it epitomises what I am conveying through this image, beauty, intrigue, freedom, hope and subtle randomness. The two central penguins are deep in conversation, possibly gossiping about their love-struck friend! -
- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Cast Off Your Shackles (Mary Poppins) - Standard Limited Edition
£415.00
- With this piece I wanted to focus on creating emotion and feeling within the scene rather than a deep concept. The horse that takes centre stage shows so much emotion and is deep in thought, majestic almost. My aim is to first see the beautiful horse in its’ surroundings and then notice the pole, painted saddle and the cracked skin to reveal signs of a darker past. Now that the horse has broken free it has cast off the shackles of yesterday and embracing the freedom that comes from that.
This is mirrored by the suggested relationship between Mary and Bert which shows a number of references to this and how they have brought what was once hidden into the open for all to see! Objects within the grass that typically shock are made to look beautiful as this is how the two love birds see what they have between each other.
What I have created is a scene based on the original narrative that is set in parkland on a beautiful English Summers’ day with the dome of St Pauls showing over the treetops. A racecourse extends across the composition with riders and horses thundering by. Light as always plays a key role here creating warmth and calm whilst the brighter areas are there to represent hope.
Butterflies flutter around the pole moving upwards, the style of these has been done in a way that relates to the flat colours of those used in the film as contrast to the background. Dandelions fill the grass to enhance the lightness and delicateness of the piece, there are tiny seed details where they are floating upwards. In the background there is Mary Poppins’ carpet bag and the white umbrella that she held within the park / fair scene with subtle hints of magical detail surrounding it. Birds are a key part of the film and I have includes two within the softened background, as well as Berts’ blue bow-tie that rests against Mary’s bag. Nestled within the grass is the signature Matryoshka doll that references my first published collection.
Key characters from the story stand within the long grass, a disgruntled turtle and some penguins, of course! I deliberately left until last as it was a case of how on earth do you introduce such characters into such a beautiful scene without it looking random and stark. So what I have done is create a connection between one of the penguins and the horse where they are fixed on each other. There is subtle dream-like lighting detail and icons that are radiating off the penguin leading upwards to the horse, it creates something really wonderful and more importantly a talking point as to what is going on and why there is such a lovely affiliation.
For me it epitomises what I am conveying through this image, beauty, intrigue, freedom, hope and subtle randomness. The two central penguins are deep in conversation, possibly gossiping about their love-struck friend!
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- Released: 2021
- Collection: Storyteller
- Edition Size: 25 + 5AP
- 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.
Charlie (Charlie & The Chocolate Factory) - Original
Released: 2016 Collection: Storyteller Specification: 1 of 1 original framed embellished canvas, hand signed by artist. Image Size: 48” x 36" Framed Size: 54” x...
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Dare To Dream (The BFG) - Canvas Limited Edition
£1,295.00
- There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?
To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.
In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?
In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.
The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.
‘Just let me do good’.
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- Released: 2021
- Collection: Storyteller
- 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.
Dare To Dream (The BFG) - Large Limited Edition
- There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?
To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.
In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?
In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.
The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.
‘Just let me do good’.
-
- Released: 2016
- Collection: Storyteller
- Edition Size: 10
- Specification: Deluxe limited edition fine art print, hand signed by artist.
- Image Size: 29” x 22"
- Framed Size (Approx): 42” x 34"
Dare To Dream (The BFG) - Original
- There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?
To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.
In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?
In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.
The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.
‘Just let me do good’.
-
- Released: 2016
- Collection: Storyteller
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Dare To Dream (The BFG) - Standard Limited Edition
£315.00
- There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?
To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.
In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?
In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.
The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.
‘Just let me do good’.
-
- Released: 2016
- Collection: Storyteller
- Edition Size: 45
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 21.5” x 16.5"
- Framed Size (Approx): 29.5” x 25"
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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.
Deliverance (Cinderella) - Canvas Limited Edition
£1,295.00
- Deliverance is rescue from imprisonment, danger, or evil. This is a very different interpretation of Cinderella based initially on Aschenputtel (Cinderella) written by the Brothers Grimm. It is a much, much darker version - awful in places, even for me! What we all know and love from the Disney version is so far from the reality here it is scary.
This piece is a classic example where I build a secondary narrative into the piece that then takes over and consumes the image, albeit it making it much more beautiful. There is no fairy godmother - instead a pear tree that grew on Cinderella’s dead mothers grave whilst birds flocked together as one to destroy the ugly sisters in a way you would not think possible.
So this piece runs in line with the overriding concept that pushes Cinderella into that coach and that gets her to the ballroom to ultimately be rescued by her Prince yet it represents so much more, to me and hopefully to others who can find affiliation to the concept.
The doves, an incredibly poignant detail throughout my work, come together when one simply isn’t enough in the hope that working together they can make the difference as they desperately try to help the person who has fallen, who sees no way out, before it is too far gone. A beautiful title for a beautiful act, good will win out if the shoe fits, and it does in this case, perfectly.
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- Released: 2021
- Collection: Storyteller
- 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"
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- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
Deliverance - Large Limited Edition
£545.00
- Deliverance is rescue from imprisonment, danger, or evil.
This is a very different interpretation of Cinderella based initially on Aschenputtel (Cinderella) written by the Brothers Grimm. It is a much, much darker version - awful in places, even for me! What we all know and love from the Disney version is so far from the reality here it is scary.
This piece is a classic example where I build a secondary narrative into the piece that then takes over and consumes the image, albeit it making it much more beautiful. There is no fairy godmother - instead a pear tree that grew on Cinderella’s dead mothers grave whilst birds flocked together as one to destroy the ugly sisters in a way you would not think possible.
So this piece runs in line with the overriding concept that pushes Cinderella into that coach and that gets her to the ballroom to ultimately be rescued by her Prince yet it represents so much more, to me and hopefully to others who can find affiliation to the concept.
The doves, an incredibly poignant detail throughout my work, come together when one simply isn’t enough in the hope that working together they can make the difference as they desperately try to help the person who has fallen, who sees no way out, before it is too far gone. A beautiful title for a beautiful act, good will win out if the shoe fits, and it does in this case, perfectly.
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- Released: 2018
- Collection: A New Chapter
- Edition Size: 10
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 32” x 24"
- Framed Size (Approx): 42” x 34"
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- Get in touch for overseas delivery
- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.