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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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Norma Jeane (Marilyn Monroe) - Original
£3,500.00
- 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
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
-
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"
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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
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X Never, Ever Marks The Spot! (Indiana Jones) - Hand Embellished Large Limited Edition 10/10 - SAVE £200
£495.00
- This is my interpretation of the 1980s classic film Indiana Jones & The Last Crusade entitled ‘‘X Never, Ever Marks the Spot!’ a classic quote taken from the film.
My aim for this piece was to simply embrace all that is brilliant about the movie and what has made it achieve iconic status for so many rather than trying to inject a deeper, more surreal narrative that could possibly be missed. So what we see is an engaging and dramatic scene that focuses on the temple and surrounding cliffs, so much detail from the film is there to be explored and enjoyed, some blatant, some requires a little more searching.
As with so many of my pieces you don’t get to see the characters, instead it is these objects and their positioning as well as other subtle detailing that creates an open-ended image that is designed to be interpreted however you see it playing out in your head, you pick up the pieces and run with it!
For me personally, I loved the battle between Indiana, his Father and the Germans with the tank and aircraft being key objects that always stood out so I have used these as the focal point. Something is definitely kicking off within the temple itself, look closely and you will see that the Zeppelin overhead that is exploding into flames looks to have been caught by something coming from the temple, forces are clearly at work here!
I loved the bond between Indiana and his father and how both of their attire are so well known, this plays a key part within the detail. The colours are vivid and intense and have been injected to really make this piece hit you right between the eyes and bring back some great memories! -
- Released: 2017
- Collection: Spellbound
- Edition Size: 10 + 1AP
- Number 10
- 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
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In stock and available for despatch
Was It A Dream? - Standard Limited Edition 5AP - SAVE £70
£365.00
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‘Aurora’ features 3 intense images that are inspired by Disney’s blockbuster movie ‘Frozen’ that the long awaited sequel that is released in cinemas today! Mark admits to being a fan, of the movie albeit not the lead song! His ‘Storyteller’ works offered stunning interpretations of many of Disney’s iconic masterpieces and Frozen has long been on the radar.
Mark’s personal bond with Lapland stems from spending two holidays there over Christmas and the magic has created a lasting impression. The connection with the Icelandic composer Ólafur Arnalds and the haunting vocals of Arnor Dan are without doubt all linked to the emotions that come from being immersed in such stunning natural beauty.
The aim for ‘Aurora’ was to continue to create art with meaning - especially when taking on something that is so commercial as ‘Frozen’. The images themselves needed to evoke the magic of the film and to be easily identifiable but with an exploration of the complexities of the characters shown. As with so many of Mark’s work there is connection to be made by those who can relate the character’s emotion even if completely unrelated to the film. -
- Released: 2019
- Collection: Aurora
- Edition Size: 25
- Number 5AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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Summer Lovin’ (Grease) - Standard Limited Edition 3AP - SAVE £70
£365.00
- Initially the concept for my first ‘Grease’ piece was going to be a gritty take on this classic movie, however I always look to curate a balanced body of work with each new collection and along with the ‘The Time Of My Life’ (Dirty Dancing) image I wanted to offer a much lighter and cute piece that would appeal to a broader cross-section of my collector base. This coupled with producing ‘Summer Lovin’ during the early stages of the Covid-19 ‘lockdown’ I embraced the lighter side and the end result is just pure good fun and whimsically retro, as well as bloody bizarre in places!
The scene is set within the sports fields of Rydell High School during the Graduation Festival with the iconic Hollywood hills in the distance. It’s a beautiful Summer’s day, with balloons, bubbles and butterflies in the air with the fair in full swing! The styling for the piece was influenced by a much earlier ‘Mary Poppins’ piece entitled ‘Cast Off Your Shackles’ with the warm contrast between the grass and the sky, an ultimately cute scene that masks some of the subtle naughtiness that has been left by the high school leavers. In past pieces I have shown a carousel but this time I have gone with a cracking helter-skelter that not only looks perfect but allows me to hang so much detail to it, maybe the odd familiar face too!
A common theme within ‘Lost in Hollywood 3’ is the cars, any opportunity and all that! It was impossible to even contemplate not including ‘Greased Lightning’ as well as the flame-clad beast driven by Leo “Crater face” Batmudo, leader of the Scorpions whilst not forgetting the powder pink beauty driven by Rizzo and the Pink Ladies!
Music is always a big part of my work and the ‘Grease’ movie soundtrack offers so many cracking lines that I have loved to make reference in my signature way and hidden for you to seek out. With the composition it is a case of what you can’t see being equally important as what you can. I love to set it out so you can play out the film in your way, to become your favourite character and decide what is going on or about to.
The great element with preparing for the piece is the research, to sit down and watch the film, albeit stop start to allow for pages of notes. This is how you stumble across random little details that crop up that you never knew about, this combined with online research and fan pages it really magics up some cracking details that I then set about trying to integrate into my image. So, for those who may be wondering if I’ve been sinking a few too many ‘Blue Moon’s recently, well yes but the two-headed chicken and eight-legged pig are a thing apparently! Who knew?! Without doubt one of the most random tasks creating those in the studio as there’s not many points of reference floating about!
I am so pleased with how ‘Summer Lovin’ has turned out, I’ve not seen an interpretation like it, and I hope I have done it justice and that it makes you feel great. The seed is well and truly planted in my head for a sequel to this sometime in the future! So, I will leave you to search for the details and scrawled messages, oh and who would have thought that Eugene was hung like a freakin’ horse!
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- Released: 2020
- Collection: Lost in Hollywood 3
- Edition Size: 45 +5AP
- Number 3AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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A Way Of Life - Standard Limited Edition 3PP - SAVE £70
£365.00
- 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
- Edition Size: 45
- Number 3PP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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In stock and available for despatch
Ill-Gotten Gains (The Elves & The Shoemaker) Standard Limited Edition 1AP - SAVE £100
£335.00
- I have constructed a scene that has a mix of innocence, magic, greed, anger and darkness. The composition and choice of objects convey the growth of the shoemakers’ business and ultimate failings with the results of this being there for all to see. The title choice of ‘Ill-gotten Gains’ represents how the shoemaker was given the helping hand to kick-start his business and enjoy the security that his wife and he craved yet through greed and naivety made bad decision after bad decision whilst ignoring the advice from those that helped him, making more enemies than money.
The piece itself showcases depth of field through setting key detail in stages moving front to back and then the landscape that you can see through the factory windows. I wanted to include a significant amount of detail within the piece and ensure that they are harmonised with tone and ambience. The factory is oversized and showing its’ age and neglect, beautiful but damaged windows bring in light and hope but fight against dusty spaces and intense shadows.
The workbench takes centre stage, it is where it all started and displays the tools of the trade, where the magic did happen (and still could if he would only take of the blinkers). Positive messages and advice from the elves are written into the wood yet are ignored in favour of embarking on a path of destruction and chaos.
As you move towards the back of the factory signs are there to show the results of how he has run his business - customer returns stacked to the rafters dwarfing the new orders, broken windows and angry scrawled messages represent the enemies that he has made. As a result of his failing business, subsequent debts and diminishing reputation the wolves are circling, with his inability to keep them from his door depicted by a single wolf walking freely through the factory. Through the window shows more destruction, huge areas of forest have been cleared to make way for a transport link yet a rusting truck sits behind deteriorating shutters.
Yet with darkness always exists light and this is depicted by the strong glow that is bursting through into the factory that represents hope, the dove is there to signify hope and protection in times of adversity. All is maybe not lost, the subtle magical details that interact with the shoemakers’ tools and workbench hint at that. The solitary tree that stands in the clearing that the client requested is a further example that the strong will always stand tall. -
- Released: 2016
- Collection: Storyteller
- Edition: 10+2AP
- Number: 1AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size: (Approx): 32.5” x 26"
There’s No Such Thing As Monsters (Moby Dick) - Large Limited Edition 1AP - SAVE £200
£335.00
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The whale is portrayed as a monster and appears in top ten sea monsters of all time all over the internet. Was he actually a monster or was he simply provoked for years on end? Who is hunting who here? They say that everyone, no matter how placid has a breaking point and my interpretation looks at the story from this angle. Angry seas, boats caught in the monsters jaws saturate any image search - I have kept well away from that and pushed to portray a scene of devastation, of sheer terror, in a beautiful light that is the complete opposite yet ultimately showing the same result.
I have chosen a calm, serene seascape to truly demonstrate the environment where the whale should swim free, not be hunted. Something so huge and powerful doesn’t need to wage war, a simple flick of its’ huge tail and it’s done. There is something much more powerful to see such a huge creature slip beneath the surface like this rather than a backward leap and crashing down, it’s what is underneath, what you can’t see that is ultimately more dangerous, more powerful.
My portrayal of the whale is one of beauty and peace. I have created the tail in a way that actually looks like a dove about to fly away towards the light. There’s no better way to symbolise peace and being set free than this and it fits perfectly with may concept that the whale can finally swim freely now that those that hunted it obsessively lay beneath him. If you look closely you can see subtle feather details, creating a tail within a tail.
My aim is that you see a beautiful scene before you are fixated with what has just happened and the untold destruction that has occurred.The whale is finally shown in it’s true light. A solitary oar from the Pequods’ hunting boat floats in the water, opposite a single broken piece from the boat, a part of its’ mast as there is a Spanish Doubloon nailed to it, with an oily hand print where one tried to make a final grab for their reward, Captain Ahab is also inscribed on the wood. A torn section of rope just about keeps itself above the surface, torn from the harpoon that proved so futile. In the foreground there is a message in a bottle, written by Ishmael. Written in hope that his tales will be found one day, almost accepting his fate, tragic but beautiful.
Another so called monster heads into view, a shark, again - who’s killing who? In contrast and in keeping with my love for good vs evil, dolphins swim the opposing direction, head on so as to symbolise the battle between good and ‘evil’. Ultimately I have strived to create something that is beautiful and serene, with intensity but yet with remoteness, a positive message that comes from a scene of complete and utter devastation.
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- Released: 2017
- Collection: Standalone
- Edition Size: 10 + 1AP
- Number 1AP
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 37” x 24"
- Framed Size: 44” x 32"
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In stock and available for despatch
Stealing Stones & Breaking Bones (Snatch) - Standard Limited Edition 11/45 - SAVE £60
£305.00
- BONJOUR! This is the follow up to last year’s ‘Lock Stock’ piece and is set within the gypsy site and with this one the composition is pulled so much further back. The aim was to raise the bar and get so much more detail in there and by pulling the composition back it allows you to really ‘go to town’ with all the different references that you see within the film. With all of the ‘one liner’s that everyone knows it’s the challenge to take something like that and see how you can translate it into a visual sense, into an object to find and to try and understand my way of thinking.
To watch the film took close to five bloody hours to sit there and make notes and see how you can get those small references within the scene. A good example being the Lancaster Bomber, it’s quite striking within the image but is only a subtle reference within the film and most people probably don’t know it was there.
It’s been great to get back involved, it’s such a brilliant film! One of my favourite actors is Vinnie Jones and that’s why the ‘Lock Stock’ piece featured his character’s car so prominently and I’ve done it again with ‘Bulletproof Tony’, the fact that he’s an ex-Leeds United player as well, me being a Leeds fan, any opportunity!
There’s so much to spot, any chance to get a naughty word in there! It’s just a quality film and it’s nice to do a piece where you’re not trying to create an underlying narrative but purely trying to do justice to such an incredible film and I’ve just loved every minute of it. Good luck trying to figure out what half of those references mean!
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- Released: 2020
- Collection: Lost in Hollywood 3
- Edition Size: 45 +5AP
- Number 11
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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- Get in touch for overseas delivery
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In stock and available for despatch
Let’s Cook, Bitch! (Breaking Bad) - Standard Limited Edition 10/45 - SAVE £60
£305.00
- When ‘Breaking Bad’ was running on Netflix I was always a huge fan. I loved the lead characters, the plot, the darkness, the light, and the vehicles. Yet guess what, I never watched a single bloody episode! ‘WTF’ as you scratch your head in bewilderment. ‘You phoney, you fake! You bloody profiteering charlatan!’ Ok let me explain, bitch!
So, Vince Gilligan’s masterpiece ran from 2008 through until 2013 and my life was intense to put it politely. Trust me, I’m not asking you to grab your resin block and shine up your bow for me, there’s no sob story. The reality was I pretty much worked every hour possible and outside of that I was trying to put out fires, so TV took a back seat. It’s always been on my radar to take on and with how things have been over the past year or so I have really been able to relax and get stuck into some great TV.
I have been asked over the past few years if I intended to take it on and create a piece that showcased ‘Breaking Bad’ in my signature style. It was actually from creating ‘Petrolheads’ that gave me the inspiration of how I could bring this to life as that scene featured a number of vehicles gathered in a remote part of the desert and had a link to how Walter and Jesse would head out into the wilderness to ‘cook’! So that is where the concept started, and I am so pleased with how this piece has turned out.
In terms of the series and my ‘Petrolheads’ concept, there should be no clear link but if you look closely, you’ll see that the two scenes could be a mere turn of the head between them and I love that. Taking centre stage is the iconic ‘Bounder’ RV with its’ billowing blue crystal cloud rising upwards. What I love about the RV is it seemed to behave in line with the character’s luck at the time. It would choose not to start just at the time when it just bloody needed to and be a saviour on other occasions. Having owned a BMW M3 that I put over 160,000 miles on and been humiliated by the thing as well as saved, it just struck a chord.
The scene shows such a cracking range of vehicles and there is so much detail to seek out, some blatant whilst other references are harder to decipher. I was instantly hooked on this beast of a story, from when the theme music started it got me. It’s such a brilliant example of how a character can change through tragedy and turmoil, where that inner demon is woken. To do so much bad for so much good is so powerful, a classic example of how everyone has a dark side but not everyone can control it.
“I did it for me. I liked it. I was good at it. And I was really… I was alive.”
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- Released: 2020
- Collection: Retrospective 2
- Edition Size: 45
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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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.
Wonder Woman – ‘Thunderbolts of Jove!’ - Standard Limited Edition 1/10 - SAVE £60
£305.00
- She has certainly changed over the years but wow! What a woman! The title draws reference to one of Wonder Woman’s earlier comic book catchphrases and is depicted within this piece through the dramatic details in the background and that surround her sword and shield. I wanted to achieve a contrast between the raw power and strength with her sense of calm and natural beauty. As with my Superman piece there is a meeting of her iconic blue and red from her outfit that creates purple, there’s something in that for sure. The overriding message here is that you are stronger than you think, more powerful than you realise
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- Released: 2020
- Collection: Lunatics & Legends
- Edition Size: 10
- Number 1
- Specification: Limited edition fine art print, hand signed by artist.
- Image Size: 25” x 18.5"
- Framed Size (Approx): 32” x 26"
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- Get in touch for overseas delivery
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In stock and available for despatch