Studio Stock
Take advantage of much quicker delivery times and cracking discounts
The studio always has a great range of artworks that are available to be sent out much quicker than processing a new order. Whether it is from a recent event, gallery loans or pieces kept in the studio to showcase exciting new formats, it is always worth keeping a beady eye on this collection of works as there are often discounts applied to some pieces.
EIVISSA - Original
£4,250.00
- Ok, so for each of the previous ‘Retrospective’ collections there has been a music inspired piece as it has played a massive part in reinvigorating my memories of growing up through to present day. In 2019 I created ‘Mad For It’, a 90’s ‘Brit-pop’ celebration that focused upon the Manchester music scene. A slightly different type of music and weather to what you now see here in EIVISSA, but the two pieces are related, to me anyway! Basically, in my late teens I was really into house music, I absolutely loved it. So much so that I wasn’t bothered with the ‘Indie’ scene that most of my mates were. This resulted in me not going to watch the little gig that was ‘OASIS live at Knebworth, that was practically on my bloody doorstep. Damn it!
Typically, I soon started to move towards Indie, Brit-pop and an increasingly heavier taste and I seriously regret not going, I couldn’t even get any shared memories from my mates as they can’t remember anything from it! A side effect that the majority of those who were lucky enough to get over the ‘white isle’ in the hedonistic era of the 1980’s through to early 2000’s. Like I said, I loved and still love the House music from that period, but I never got to go over to Ibiza and ‘large it up’. I’ve never waved a glow stick or got off my nut on mind-blowing drugs. The closest I got was the nightclub in San Jaime – Menorca and waving one of the wooden statues about before getting bollocked and told to leave. Not hardcore but good fun.
As with a good number of my pieces, I like to take on subjects that typically get overlooked in the art sense yet have a massive following. I love creating scenes that put you right back there, that pulls at your heart strings and amplifies all the emotions that you felt at the time. With EIVISSA I have created a digital still life composition that is much ‘freer’ than the majority of my works, so it truly creates this sense of calm as you either watch the sun go down or come up from the beach. It is a beautiful image, pure tranquillity, with the sun shimmering over a sea that looks like a blanket of diamonds and the stunning Bougainvillea gently framing the vista. If you look closely, you will spot that the sun is actually made from a vinyl LP, whilst graphic equalizer patterns mimic hints of distant hills over the horizon as you look towards the other Balearic Islands.
There is a narrative and another purpose to EIVISSA, it depicts the changes that have happened out there from the early period when the clubs existed but were dotted about amongst little villages and dust tracks. A time when it was all about the music and the experience before the VIP culture took a hold that made everything so much harder and more expensive. Now, sadly it seems to be that the tables are reserved for those with the deepest pockets or biggest following. So, despite this being a positive piece, there is a nod to that. It isn’t something that I will pretend to be incensed by, but I felt it right to acknowledge, more so when the true spirits of Ibiza pass, such as Jose Padilla. ‘Heaven is a place of wonder’.
This sense of shifting sands is reinforced by the objects within the main composition. Dominated by a DJ mixing deck and with cracking objects that surround it, there is this feeling of things being uncovered and recovered that were previously hidden, just like how I hope this piece brings those memories back that were blurred and hazy. It is what ‘Retrospective’ stands and aims for, to look backwards to look forward. Look closely and you’ll spot an object that brings the time of this piece bang up to date rather than it being what many would initially think is set back in past decades. However, once you’ve spotted it, do you see it as current or set in the future when the restrictions are now a thing of the past and with that comes hope that the true spirit of EIVISSA has returned, floated in with the grace of a rainbow unicorn!
I have loved creating this piece, I really have. I hope that it has offered something that many didn’t think existed and that I have done justice to the memories that you lunatics can remember. Look closely at the mixing decks, it is totally transformed with cracking references with the odd one that needs a real clear head to decipher. I love the contrast between the wonderfully calm qualities but the drama and movement of the light trails that not only depict the intensity of the clubs but reinforce the sense that things are coming back to life. At the time of writing, it is Autumn and grey skies, but I hope that I have brought a brighter horizon to you and the time when you’ll be finally back on the sand is getting ever closer. I think we will all drink to that! Just beware of the dangers of Moist, Milky Donuts, Always!
So, it just remains for me to say, ‘av it large! (or standard if the size fits better)
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- Released: 2021
- Collection: Retrospective 3
- Edition Size: 1 of 1 Original
- Specification: Mixed media original piece, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
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Cash My Gold SUKKA! (The A-Team) - Original
£4,250.00
- I’m sure I’m not alone with this one, but I bloody loved the A-Team as a kid! Classic Saturday TV memories with the family and I loved and lived every minute of every episode. I have previously created two A-team pieces; ‘Soldiers of Fortune’ was created back in 2016 and sold as an original piece whilst ‘A-Division’ was a commission. The van has featured within pieces such as ‘Petrolheads’ but I have been itching to create an image that can be available as a general release so here it is SUKKAS!
The two pieces previously captured the team’s love for creating intricate and bizarre weapons and vehicles from cabbages and egg boxes, whilst also referencing their previous roles in the US military and I love both pieces. For this image I wanted to do something different, so I planned to move the timeline forward to a period after the characters have moved on.
My favourite character was B.A Baracus, what a nutter! Apart from Pat Butcher, he was the only one capable of carrying off those whopping great big earrings! He was a unit, wasn’t he?! Probably from all that milk he drank, I guess if his hate for milk was like his fear of planes then all he would have been good enough was to play for the 'Owd Reds. Accrington Stanley, who are they? Exactly!
So, I tried to get inside Mr T’s head to see what he would probably do with all his free time and apart from becoming a boxer, (that wouldn’t work would it surely?) I thought he could continue with his love for all things gold and glittery and set up a gold mine out in the middle of nowhere where surely no one could find him, or could they?
A rickety, towering gold mine expands up from the desert that looks to be as sturdy as one of the old A-Team TV sets. Yet just look at the operation that is going on here under the name ‘FOOLS GOLD’ (you see what I did there?). Rail carts stand on their tracks full of gold, it looks like business has come to a grinding halt, is there a mole within the tumbleweed or just a jackal?
Although so much has been left for your interpretation, one thing is clear and that is B.A’s empire is under attack from above as wave after wave of attacks rain down from the sky. But hold on, the classic Corvette is being carried away by the military Chinook, is everyone on the same side here? Is he out on his own, did he cut his ties back then or has his comrades answered his call for one last battle? Blacked out windows leave everything open to your imagination.
A key component of the classic series was the constant over the top drama that played out, how many vehicles were flipped over and blown up by them lobbing sticks of dynamite at any opportunity? Yet did anyone ever not make it out of their flattened or burning jeep? I have paid homage to this by creating a cracking sense of drama and movement to contrast with the static objects laid out in front of you to decipher.
Bigger isn’t always better and that is shown with the role that the iconic A-Team van plays within the scene and its composition. It is such a bloody brilliant vehicle that looks great up close but I have done this within ‘Petrolheads’ and didn’t want to replicate this so, instead it is doing ‘doughnuts’ in the desert, but driven by who?
There have been a few calls to include a ‘big rig’ within a piece and I love what is happening here. I remember the time when they converted a rig to become a battering ram, it just looked immense. So, in true A-Team style I have got the virtual angle grinder and blow torch out and created my own. Look closely and you will spot whose truck this is! I love the end results, it has a ‘Mad Max’ quality to it, now there’s food for thought.
I avoided watching the big screen movie remake as I prefer to keep my memories unspoilt but always enjoy watching old episodes. With the exception of when Leeds used to come out onto the pitch to ‘Eye of the tiger’, I can’t think of many better intros than the theme tune to the A-Team. I only take on a subject if it resonates with me and if I feel that I can bring something different to the subject and most importantly do it justice and I can whole-heartedly say that I have thrown everything at it. It has brought so many special memories back to the surface.
I love it when a plan comes together!
That’s all folks! -
- Released: 2021
- Collection: Retrospective 3
- Edition Size: 1 of 1 Original
- Specification: Mixed media original piece, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
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Underwater Love - The Original - SAVE £500
£3,750.00
- So, this piece literally came out of the blue! In May 2020, as part of my ‘Lost In Hollywood 3’ collection, I created a piece entitled ‘Q-Division’ - a conceptual piece designed to celebrate and combine all of Daniel Craig’s James Bond movies. ‘No Time To Die’ was due to be released that year and I wanted to mark the finale of his fifteen-year tenure as Bond with something special. Then the pandemic took hold, and it is only now (September 2021) that the film finally makes its long-awaited appearance. I was in the middle of creating a piece for my ‘Retrospective 3’ collection when an idea was born, and I just had to run with it. Despite having a clear plan for each month, it was something that got into my head, and I just thought, bollocks to it! I’m doing it! So here we are, with ‘Underwater Love’.
Memories of the classic Bond films as a kid are vivid and special and I cherish them. I lost my way with several of them after that but became drawn to them more for the beautiful introductions that showcase the lead song, they are works of art in themselves. ‘Skyfall’ was an incredible example of this, but it was the hypnotic and surreal qualities of ‘Spectre’ that stuck with me. It is just brilliant! I guess, it is that quality that I strive to inject into my work, and it has driven this piece. The scene is dominated by the beautiful Aston Martin DB10 that is flanked by the backdrop of Rome as Bond waits to welcome Madeleine Swann. The two characters add a real quality to the piece as their eyes are on you, helping to put you in the scene, or just outside of view. If you look closely, you will see that her dress is starting to morph into a mermaid’s tail, it is a beautiful addition.
My portfolio has a good number of underwater pieces, it is the concept of not knowing if you are above or below the surface that I love. So, for this piece you will see that the octopus that creeps and curls itself throughout the intro to ‘Spectre’ is present and is coming towards you, but is it through the air or making its way through the water? ‘Underwater Love’ explores the concept of being under ones’ spell, hypnotised, giddy by their presence and power. Where you are influenced or controlled by one through being fascinated, enchanted, or seduced. Reality gets blurred as you retreat into your own, very different world. This is the point where it could get heavy, intense but that is for another day. If you embrace how I think and work then you will get what this piece can truly symbolise, but it can simply be enjoyed for a beautiful scene made up of beautiful characters, a beautiful car and a beautiful city. So, even though Daniel Craig’s time as Bond nears its end, my apparent love for mermaids lives strong! -
- Released: 2021
- Collection: Lost In Hollywood
- Edition Size: 1 of 1 Original
- Specification: Hand embellished canvas with bespoke spray painted frame. Hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
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A Way Of Life - The Original - SAVE £1700
£2,550.00
- When setting out on planning my ‘Retrospective’ collection my intention was always to give music a strong presence as it is so often the catalyst that ignites a memory no matter how far down that resides. I absolutely bloody love music, it has always had and always will have a huge influence in my art. I need music to set me free, to let me bleed.
I love how an allegiance to a group can completely dominate the music you listen to, the clothes you wear and the wheels that you ride in on. I love how it becomes so much greater than the sum of it’s parts, how it takes over and becomes a way of life.
‘Quadrophenia’ has long been on the list of films to tackle for me, it was simply about timing. The cult groups of the Mods and Rockers are so iconic and seeing as though the subject matter has been ‘done to death’ and largely in the same way I wanted to do something a little different.
I won’t profess to belonging to either of the two. I can’t ride a motorbike or a scooter, the closest I came was getting a bone-shaking ‘backy’ over the freshly ploughed fields of Great Barford as a kid and holding on to my mate’s big brothers motorbike as I rode back home on my Peugeot racer bike as he accelerated to the point that my tyres glowed a brighter red than all 4 cheeks. Yet my partner is desperate to own a Vespa so that’s good enough for me.
Research is a big part of the planning and the key detail that kept coming up was the ‘Battle of Brighton’ where the two groups caused havoc. That got me thinking, I focused on the pure passion that both sides had for their own whilst also the dislike they also held for their rivals. As Paula Abdul once told me, opposites attract so that was my hook for this piece.
What we see is the moment where two people, a Mod and a Rocker choose to meet and defy the rules to be together. Whether that be a courting couple or just mates is up to you but I love the sentiment, like a modern take on Romeo and Juliet, possibly. A sweet sacrifice.
This image is all about what you don’t see that makes it so personal. I wanted to create a beautiful piece of art yet one that has an edge to it. I love how the lighting completely changes everything, unifying all of the elements. I love the calmness, the warmth, the sense of a new dawn breaking and a moment cherished. Love will always find a way.
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- Released: 2019
- Collection: Retrospective
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size (Approx): 54” x 41"
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Norma Jeane (Marilyn Monroe) - Original - SAVE £1700
£2,550.00
- My interpretation of Marilyn Monroe has been created using the same style as my 2016 ‘Unrequited’ and ‘Little Wing’ pieces. It therefore allows for a really beautiful interpretation of such a recognised icon and her classic pose. You see so many interpretations of Marilyn that paint her as something that she wasn’t so I wanted to go down a different route and embrace her beauty. This is why I chose to name the piece as ‘Norma Jeane’, her birth name so essentially stripping everything back, back to beauty.
Her body is created using single hearts to acknowledge how much she loved and was loved whilst her dress has been created with angel wing feathers which not only looks beautiful but is a subtle nod to her passing and being free from the darkness that existed in Hollywood. This darkness that followed her is depicted in small smoke detailing that clings to the bottom of her dress. The piece has abstract markings on as a subtle reference to the Subway grate updraft that caused her dress to lift up and create such an iconic image. -
- Released: 2017
- Collection: Through Darkness & Light
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
- In stock and available for despatch
The Time Of My Life (Dirty Dancing) - The Original - SAVE £1700
£2,550.00
- This is a really beautiful piece and the idea was to do something very different to get a balanced collection. It’s inspired by the concept of the character coming back to reminisce about the memories that they have from that particular moment. The piece totally changed with the fact that one of the key actors, Patrick Swayze passed away several years back so that took the piece to somewhere completely different.
For me it was always going to be about ‘the lift’, it was always such an iconic moment from the film and such a beautiful image and that could have been the piece itself, to focus purely on that but I wanted to do something different so it ended up being just a small part of the image but a massive part of it.
So, what you see is the point when Johnny and Baby have gone down to the lake to practice, you see his car just in the shadows of the forest, any way I can shoehorn a car into a scene and there’s something really cool about it just poking out. There’s a dark element to the film in small places which I feel is why the woodland works really nicely in complete contrast to the beautiful, dramatic piercing light that is coming through. Once you know the underlying concept with what I have tried to do with this piece I feel it makes what the light represents even more powerful. The subtle details of the falling feathers and the dove makes it really pretty.
The movie is really quirky and the great thing from watching the film and making notes is you are writing down all of these lines that may be really small details but you try and bring them into the piece in quite a big way, so, for example the hen! That was given as a prize at Kellerman’s and it may have just been on screen for a split second but then becomes a prominent part of the image and leaves you trying to decipher what the hell it is doing there!
There is a lot to seek out, it was one where the overriding impact of the setting and having that lovely recognition for such an iconic actor’s passing has resulted in a truly wonderful piece. Hopefully many can find comfort in the sentiment when we think back to when things where very different and relive a special moment, amplifying all of those memories. -
- Released: 2020
- Collection: Lost In Hollywood 3
- 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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Not All Who Wander Are Lost (Lord Of the Rings) - The Original - SAVE £1700
£2,550.00
- 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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- Please allow approximately 14 days for delivery, should you need delivery sooner please let us know.
The Long & Winding Road (The Wizard of Oz) - Original - SAVE £1700
£2,550.00
- This scene focuses on the yellow brick road through the forest and all that hides within its' shadows in contrast to what can be seen in the distance, beyond the rainbow - the Emerald City. The aim was to create a really striking, colourful and ultimately beautiful landscape that resonates the sense of hope that those who seek it out cling to. A magical landscape full of extremes, beautiful poppy fields, mountains and waterfalls where the warm tones of central sun shines brightly and directly onto the brick road, look closely and you will realise that the yellow is coming from the sun that guides and warms you but the bricks are nothing other than ordinary. Is it a case of blinded by the lights? Fools gold? One poignant detail within the serenity of the sky above the Emerald City is a hot air balloon, surely the Wizard isn’t in there and bailing out?
This piece epitomises the contrast and proximity of darkness and light, literally split into two. The road takes many a twist and turn and this particular point sees it framed and flanked by the darkness of the forest where any fears that you might be carrying come to life in the darkened light of the tall trees that are pinned together by a giant spiders web. In line with my Storyteller pieces the characters are not directly shown, instead you can picture these depending on with how you interpret the piece. However the key characters who walk the road are all referenced within the forest some might be a little harder to spot but for those who know how my mind works should find it easier!
What I have strived to create is a piece that on first glance looks beautiful and cute but on a closer inspection you notice that there are darker elements that sit within the shadows, even things that are deemed as positive and beautiful appear to be leaving a trail of darkness in their wake. This is done to convey the obstacles and hindrances that those who set off on their journey for fulfilment and salvation will meet, some blatant dangers, others much more cunning and disguised and ultimately more dangerous. What I personally feel is so lovely is that amongst all of the obstacles and distractions is Toto the dog, sitting there looking right at you and just waiting for you to continue onwards, unwavering loyalty and companionship. There are examples of foul play within the scene, showing that the journey is not going to be easy but ultimately it is a positive piece that is designed to be less whimsical and more real. The hope is for this piece to portray a sense of determination to succeed and tackle obstacles in your way head on whilst keeping one eye on where you are going, to keep on walking, baby step or full stride it doesn’t matter because each is one step closer. -
- 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"
I Have The Power - The Original
- This piece has been absolutely brilliant to work on, excuse the pun but I have toyed with putting my stamp on the ‘Masters Of The Universe’ for a good while now and the recent move to include characters within my pieces (more on the rationale behind that to follow in 2020) provided the perfect platform for me to do something special and do justice to such an iconic and much-loved story.
My aspiration is to fuel one’s imagination through the images that I create, to amplify the qualities and to stir the senses and to take you back to a period that is so special for so many and for some many reasons. It is this ability that I have built a reputation for that I have wanted to exploit in this collection and if by adding characters within the scene takes the piece to another level then why not.
What I am conveying through this piece is how we saw things as a child playing with these toys, where we truly used our imagination to play. We may have been setting He-Man and his companions out on the shag pile carpet or on the kitchen table but in our head we were in Eternia and we weren’t leaving until it was time for dinner!
I wish I had my toys still but I, along with my Brothers and Sister played the hell out of them so they ended up in the ‘Sandy Sunshine playgroup’ jumble stall. A low point was playing with the Sorceress (ooh err) on De-Panne beach and being called back for a ride on the go-carts and forgetting the winged beauty only to return to see the tide take her away. MERDE!
Castle Grayskull was one of the best, if not the best toys I owned, damn it brings it all back just thinking about it! This piece was always going to focus on it, with the aim of building a magical landscape that I have done so many times throughout my ‘Storyteller’ works but then take it to a different direction by showing what I so often eluded to, yet maintaining integrity and not buggering about with them and making them into something that they weren’t and instead making them come to life, to be less plastic. Through my signature lighting style and the magical detailing that I inject, these iconic action figures are hopefully as you pictured them. Anyone else have a possessed Ram Man? Mine seemed to always aim his leap straight into my bloody Nesquik!
This collection was always intended to be fun, to feel great looking back with the aim to look forward and I have done exactly that. It has been great fun, this piece especially as it was the first one where I moved into something completely different and I have every intention of building on that in future works. ‘Hadouken’ (Streetfighter 2) is a further example on how this has worked so well – so this is just Round One! Look within ‘The Memory Remains 2’ toyshop for a clue as to what could follow up ‘I Have The Power’ next year.
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- Released: 2019
- Collection: Retrospective
- Specification: Limited edition fine art print, 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
- In stock and available for despatch
The Devil On My Shoulder Lenticular Edition - SAVE £450
£2,200.00
Specs Delivery Released: 2021 Collection: Lunatics & Legends 2 Edition Size: 10 + 2AP Specification: '3 Way Flip' Lenticular, custom double frame, hand signed by...
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Why So Serious? Lenticular Edition - SAVE £450
£2,200.00
Specs Delivery Released: 2021 Collection: Lunatics & Legends 2 Edition Size: 10 + 2AP Specification: '3 Way Flip' Lenticular, custom double frame, hand signed by...
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Cast Off Your Shackles (Mary Poppins) - Large Limited Edition 1AP - SAVE £100
£545.00
- 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: 10 + 2AP
- 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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- Available for despatch
Fade To Black (The Woman In Black) - Hand Embellished Large Limited Edition 1/10 - SAVE £200
£495.00
Fade To Black (The Woman In Black) - Hand Embellished Large Limited Edition 1/10 - SAVE £200
£495.00
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This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?
I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.
There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?
It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.
Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.” -
- Released: 2017
- Collection: Stagecraft
- Specification: Limited edition fine art print, hand signed by artist.
- Edition Size: 10 + 1AP (Hand-Embellished)
- Number 1
- Framed Size: 47.5” x 35"
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In stock and available for despatch
Fade To Black (The Woman In Black) - Hand Embellished Large Limited Edition 1AP - SAVE £200
£495.00
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This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?
I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.
There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?
It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.
Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.” -
- Released: 2017
- Collection: Stagecraft
- Specification: Limited edition fine art print, hand signed by artist.
- Edition Size: 10 + 1AP (Hand-Embellished)
- Number 1AP
- Framed Size: 47.5” x 35"
-
In stock and available for despatch
Perfection Through The Eyes Of A Stork (Dumbo) - Hand Embellished Large Limited Edition 1/10 - SAVE £200
£495.00
- My interpretation of the much loved Dumbo! The concept of this piece is to embrace the emotion that radiates from the lead character that interacts with another - so in this case it shows the unbreakable bond between the elephant and the stork that originally delivered the little man to his mother. The stork sees only perfection when looking at Dumbo, where others only see opportunities to exploit and to mock. The scene shows a forlorn Dumbo sat in a battered and ageing circus train carriage unwilling to come out, evidence of those that have contributed to his lack of confidence and self worth is all around him. A circus monkey stares at a crow holding a cigar (a reference to the original animated film) whilst a tiny mouse stares up towards Dumbo to try and get his attention whilst he is surrounded by other crows.
The contrast between dark and light, good and bad is played out through references such as the contrasting black and white feathers that are dotted around the carriage. The aim was to create a random but beautiful image that displays this connection and sense of pride yet one that still has a dark side that burns. Scrawled messages and a burning ringmaster’s whip that sits next to a piece of wood featuring the ‘greed breeds monsters’ message that I have used as an overriding concept in numerous pieces and points the finger at those that exploit for personal gain. Further evidence of the darkness is shown by the knives that protrude from the carriage wall, making you think whether the knife thrower is simply sharpening their act or has darker intentions. There are clear references to the story of Jumbo, the African elephant that inspired the film, sticky buns and cracking posters are a nod a non-fictional event that was full of controversy and uncertainty yet focused on a deep bond between two characters. -
- Released: 2018
- Collection: Love Knows No Bounds
- 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"
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- Free delivery to UK Mainland
- Get in touch for overseas delivery
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In stock and available for despatch