Wax On, Wax Off (Karate Kid) - Original
- I have chosen to create something that has an overriding sense of beauty in the setting and the tones of the piece to offer something different to other pieces and to keep the body of work unique. I wanted to embrace the location of the film as all of those who were a part of the crew and cast did. William Zabka, who played villain Johnny Lawrence in the film, said, “When you get on a set, all that you did in rehearsal, and all that you do to prep, takes on a new life because that location is almost a character itself and it adds to the energy of the scene, and you feed off that.” So for me I wanted to showcase the beauty of the San Fernando Valley and it’s landscape and light.
As Mr Miyagi taught a more theoretical approach and loved to throw in the odd idiom or two I have tackled this piece as a more conceptual delivery to play on that, one where there are clear links to the film but one that has meaning and symbolism. The title of the piece, Wax On Wax Off doesn’t relate to the piece directly but instead counters the conceptual nature of the approach and on first glance the title immediately clarifies the film.
The bonzai tree takes a prominent position within the composition and its’ size has been amplified for impact. I mimicked the iconic badge from the Miyagi dojo and worked in a similar tree, to introduce the large orange sun that is behind the tree on the badge I have created a warm orange glow that radiates from the tree rather than being the sun itself as the image shows the sun is behind shining down the path. The path itself is key to the message as it represents the journey that you go on to achieve your goals (which the tree signifies) and confronting and overcoming the threats that stand in your way, literally on this piece. To bring this concept into the film I have set it so that the path that is in front of Larusso represents his journey to the very top of the sport.
Right in front of him stands a black cobra - this represents the Cobra Kai Dojo that clashed with Larusso and Miyagi all the way through the film, culminating in the tournament itself. The Cobra is the dominant part of the Dojo and has been emblazoned with the words ‘No Mercy’ which is the final point of their motto. The cobra not only creates a focial point to the foreground but represents how Larusso must overcome his fears and out battle it to reach the tree and take the black belt that sits beneath it. The trunk features a linear stack of colours that aren’t just there to enhance the piece visually but to represent the various colour grades of the sport. The beautiful lighting of the tree symbolises not just the wonderful sunlight of the Valley but also the magic that is Miyagi. As a subtle reference to the passing of the man Pat Morita who played Miyagi I have placed a lit lantern with ‘RIP Pat Morita’ on the front.
Miyagis protégé is watched from a far, in the background there is his cherished 1947 Ford Super Deluxe convertible that he then gives to Laursso on his birthday. I have featured key movie cars where relevant as I love it but have chosen to keep this one subtle, as a nicety to spot when studying the piece but where it is quite powerful when you buy into the concept. Either side of the path there is detail that relates to the film, some subtle, some clearer. To the left and right the lighting continues over the bushes in a way that it is done to look like the glow from wild flowers.
I was adamant that I would get a good reference to the Crane kick. I have created two cranes fighting which looks beautiful and violent at the same time, the positioning is perfect and represents the final match between Daniel and Johnny where Larusso on the right delivers the winning kick to take the tournament and the moral victory. -
- Released: 2016
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
Commissions
When workload allows Mark embraces client commissions and has enjoyed amazing success to date. If you have been inspired by the work that you have seen and have a specific idea or simply a seed then please do get in touch.
Commission EnquiriesRelated Items
A Division (The A Team) - Original
- Showcasing the iconic original A-Team TV series
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- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
BALBOA (Rocky) - Original
- ‘BALBOA’ was my first piece where I work with smoke detail to create a silhouetted character and I am so pleased by the results. Rather than the static and stark silhouettes that are typical I have strived to inject movement and depth into mine through using the smoke textures. I love how it flows, expanding and contracting to take the shape of the body.
The image of Rocky is so incredibly iconic and exists in so many variants so I was keen on going at this in a different way. Through using the smoke-like textures to create the body it gives off this wonderful ghost-like quality that is perfect for my ‘Lost In Hollywood’ series where we consider the characters from the film that are left behind once the filming stops and the lights go out.
The USA flag has been depicted within the body through the red white and blue and the stars whilst hints of the cityscape form the background. I wanted to do something that was really gritty where the smoke represents the downtown Philadelphia element whilst in contrast the stars and lighting signify the bright lights of the arena and the fame that Rocky found. -
- Released: 2016
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"
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Dead Or Alive (Robocop) - Original
- My interpretation of the original Robocop from 1987. This film sticks in my memory from watching it on VHS at my mates house when his dad was out, it was the first film I had seen where it was so brutal and bloody. The scene where Ed-209 was introduced to the boardroom and malfunctioned before spraying bullets stuck with me for ages, it’s still terrifying even now when you picture the sheer terror and realisation the seconds are counting down quicker than you can react to, awful! So when this commission was booked in it was the natural focus for me, same with when I took on Jaws from my current Lost In Hollywood collection I decided to confront my childhood fears and embrace those memories!
The film showcased how the city was being overrun by criminal brutality and how the police force were losing the battle whilst civilians were being overrun by their robotic equivalents. Omnicorp was the huge machine at the centre of it all but were they making masterpieces or monsters? Who was controlling who in the streets that had been promised a silver lining.
It is said that Robocop as a concept was inspired by the futuristic British cop Judge Dredd and you can certainly see this, as a subtle reference to this I have placed Judge Dredds helmet within the scene, something that is designed to confuse but then encourage greater thought. The catchphrase "I'd buy that for a dollar" is based on the catchphrase "would you buy that for a quarter" from a fictional radio show in Cyril M. Kornbluth's short story "The Marching Morons.” I have referenced both the catchphrase and the story by placing a single dollar bill centrally and scrawling a message on the wall from the story that sums up perfectly what I am saying through this piece, it reads 'ARE WE EVOLVING TOWARD BECOMING MARCHING FUCKING MORONS?’ Robocops’ gun and a hand grenade from the film feature also along with empty bullet casings. -
- Released: 2017
- Collection: Lost In Hollywood
- Specification: 1 of 1 original framed embellished canvas, hand signed by artist.
- Image Size: 48” x 36"
- Framed Size: 54” x 41"