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The classic James Bond films offer great memories from my childhood, on reflection I started to lose interest in the more recent films as I have always preferred those where they aren’t dominated by over the top special effects.

Goldfinger was a particular favourite, it was classy yet had a real sinister undertone to it, the image of the lady dead on the bed covered in gold freaked me out as a kid! Have you spotted her within the scene?! ‘Oddjob’ was another that scared the hell out of me, that bloody hat! With names like ‘Pussy Galore’ and how my mind works, this piece could have gone in a very different direction but I was determined to create a scene with real class and focus on THE Bond car, the stunning and acclaimed Aston Martin DBS.

The presence of the car is more than enough, you can’t mess around with it. The film had so many great locations but my preferred setting was always the stunning Swiss mountains and the Furka Pass that twists and turns through the mountains. This piece was only ever going to be about the car, surrounded by iconic details to seek out and in front of a beautiful backdrop – it is perfect for you to use your imagination and invent your own narrative as to where Bond is and what is happening.

What I feel has worked really well is how the scene has been ‘photobombed’ by some of the native animals that live within the region. Bond could simply be out of shot stood admiring his car or looking out for others and a red stag just happens to walk into shot. That split second makes all of the difference, I love how it interacts with the gold bars on the ground – a nod to my ‘Love Knows No Bounds’ collection. I absolutely loved reconnecting to this film and this really has fueled my imagination for future pieces - do you expect me to talk?... Time to dust off the box set for now!

Hand painted Greys, lilac, Blues and white toned abstract piece in a chaotic movement.

Gold metallic spray paint. 

This is an original painting.

160cm x 110cm  - 2cm deep

This piece entitled ‘It’s Not Goodbye’ shows the classic and iconic silhouette of Mary that has been adapted to have a slightly more uplifting perspective. Literally hundreds of tiny butterflies lift her up and take her away (butterflies link to the original film).

The top of the umbrella points towards the very top of the dome of St Pauls Cathedral where the light detail then continues up into the sky and lights up the cloud, there is something really beautiful about that.

You see so many takes on the classic Mary silhouette and I wanted to take this to a completely different level. Choosing butterflies was done with the thinking that they represent transition and change and fitted perfectly with the fact that Mary comes in on the wind to transform lives for the better before leaving when her work is done.

The iconic dome of St Pauls is dominated with red and blue to represent the classic British film whilst the parts of white complete the trio of colours from the Union Jack flag.

I chose the title ‘It’s Not Goodbye’ to represent her bond with the Banks family and undoubtedly with Bert, the narrative within the classic story hints that Mary and Bert have met before and without a doubt shows that there is chemistry between the two whilst the transformation that she has made on the Banks family makes you think that she couldn’t possibly just up and leave as soon as the wind changes.

So the title really is very important and taking what I hope is a beautiful image and giving it something even more beautiful for people to visualise.

Special Edition!

Moving up a decade and into the late 90s, what a film Guy Ritchie’s ‘Lock Stock & Two Smoking Barrels’ is. A classic example of an incredibly complex and clever plot that leaves your head all over the place even after you’ve watched it again. It’s genius! 

I was drawn to creating a piece based on this film in the same way I was towards ‘Trainspotting’ because of it’s grittiness, quality cast with legendary quotes and also a stunning soundtrack. It has everything and again like I have found myself repeating over and over again to my daughter recently, what a truly great decade the 90s were for music as well as everything else!

Music always plays a big part in my artworks and consumes me whilst I am creating each piece - without doubt the bands from the 90s’ were just endless and listening to them all at full pelt almost meant me rupturing my tendon in my foot again but I came out of it unscathed! It is definitely one of those pieces with the intensity of the detail that makes the process all a bit of a blur! 

The general consensus when hinting to others that I planned to take on this movie was for a decision not to be taken lightly, it’s an absolute beast of a film and one that consistently generated a twinkle in the eye before blurting out an often X-rated line from the film! 

I took on this piece with the view of achieving the qualities of my ‘The Memory Remains’ piece where a street scene was completely littered with references with the backdrop displaying a mash up of iconic music albums from the era, to create something that you spend an absolute age seeking out all of the details, some blatant, some much more disguised. 

Another quality was that there were so many great motors within the film, and I do love my cars! So, the question was which one would feature, being a football man and a Leeds United fan it had to be Vinnie Jones AKA Big Chris’s Rover, what a car and what a complete nutter!

This was a piece that had to be cool, gritty, naughty and a break from the whimsical and beautiful for sure. Without a doubt this was the film that I took the most notes from whilst re-watching, pages of quotes and random objects - I’m pretty sure that they all made it into the final cut, oh and yes I did dare to include it ;) 

I hope you enjoy this piece as much as I do, it’s a deal, it’s a steal, it’s the sale of the... well you know the rest!

This is such a brilliant film and a big part of my childhood and I have loved re-connecting with it to create my take on the Spielberg classic. I haven’t tried to change the narrative but simply put my stamp on it and make changes to key props that could so easily have happened simply by different bikes being available for example. The bond between E.T and Elliott was beautiful, god that thing was ugly but really easy to bond to, the fact that the boy had a broken family made it really special and the lovely line from E.T to Elliott promising ‘I’ll be right here’ had to be the title of the piece as it evokes that ‘no matter what’ quality, an unbreakable bond even if he did wobble off into a huge bloody space ship!

The film is 100% great throughout but for me the scene for this piece has to centre around the forest and the point where the bikers head to and the spaceship lands within the trees. I loved the lighting so felt right to embrace this with how I introduce light and ambience into my works. What I have done is to create a scene where it is up to you what is happening, where are the 5 boys that have left their bikes against the trees, is that spaceship landing or taking off? That is made even more poignant when you notice the orange glow from E.T that shines through the darkness, is he about to leave? Has he returned, is he choosing to evade not only those that chase him but the ship also? When you notice that he is there I would hope that it makes the piece even more enchanting and special. 

I loved my Raleigh Grifter as a kid in the 80s, there seemed to be so many iconic bikes back then and I’ve chosen to embrace that with choosing a mix of great bikes that make up the 5 from the chase as they head to the forest with E.T swaddled in the basket. Elliott’s bike is at the front of the picture, with his name being a decal on the frame. Each bike is touched by magic that radiates from the ship which caused them to fly, a blue glow to mimic that in the film. Choosing a darkening forest, I wanted to create a rich ambience with car lights, torch lights as well as the presence of the ship and the glow that radiates from it, creating an ethereal quality so everything included made sense and had a purpose. I wanted to play on that sense of urgency and the chase, the desperation to evade those who want to undo the good and break that bond. The fact they were being chased and the fear the boys had is amplified within the forest whilst on the flip side it offers protection from the search lights both from the torches and the ship. I have left it open for you to decide what’s happening.

Who doesn’t love E.T.?! What a movie, what an era!   

2016 was the year when I first released ‘Lost in Hollywood’ and I created a wonderful piece on this movie entitled ‘I’ll Be Right Here’. It was subtle but equally blatant. The forest, the bikes and the lights from the spaceship drew you in, it’s intriguing and captivating. It was only when you looked closer, into the darkness that you could then spot the glow of our little alien’s heart. It is funny how many people who own this piece never realised until I pointed out at subsequent gallery shows. I love that!

There then followed a second piece – entitled ‘I Never Left’ but this was part of my ‘Love Knows No Bounds’ body of work as you saw the little man stood there on the rock looking towards Elliott, who you couldn’t see but knew he was there as the front of his BMX tyre had just come into view. The purpose of that piece and the body of work was to focus in on the bond between two individuals and what they will do in the name of love. I love how popular that series has become, for so many reasons.

So, what we see now is completely different to both, yet still represents the spirit of the two. This time, the image is delivered in my hugely successful VHS format, this is perfect as the subtle, neutral tones of the background draw you in and immerses you within scene. In complete contrast to hiding in the shadows or being a small part of the scene, this time E.T. is oversized and in your face as much as in your heart. The reason for this and if you look closely is that it conveys the sense that it is his spirit that remains, beautifully conveying the previous two titles whilst clarifying the new one.

The strapline, ‘In every sunrise and each time the wind blows’ symbolises how the bond between two that grew to be so strong whilst together is unbreakable when apart and that that person has never truly left and will remain there for the other, always. This was so important for me to embrace for this movie and beyond because there is such a widespread affiliation for the film and it’s narrative for this reason, yes it’s a brilliant 80’s feast but it’s the sentiment that resonates with so many of us. Be Good.

Join Me (Return Of the Jedi)

‘Join Me’ is a piece inspired by ‘Return Of the Jedi’ and the iconic fight scene between Vader and Luke and engineered by the Emperor. You can’t mess around with ‘Star Wars’, the pieces that I have done are becoming much more ‘blatant’ and each has its own quality but for this one I wanted to have fun. It’s such an incredible movie! There are amazing memories of ‘Star Wars’ growing up in the 80’s, I never pretend to be a die-hard, obsessive fan but these are memories that I hold and that make me smile, they are part of my childhood. My ability and skillset allow me to be able to take something that so many know and love and amplify it, making it even more spectacular and that is exactly what I have done. 

It is dominated by the Emperors’ throne and the room around it, looking out to space. It was initially going to be a full-on space scene and that will still happen but with the move to adding characters into the scene it just suited what you now see. I wanted to test myself technically, so the room and window that you see have all been created from scratch, it isn’t something that exists, it is my interpretation of what we know. It took an absolute age to create but it gives so much satisfaction to see it finished. 

There are battles raging on in the distance, everything is amplified and more dramatic than it was. The biggest pull for me was the battle between dark and light and the push to cross over from either side, it is perfect for how my mindset works. You can see how both Vader and Luke don’t want to be doing what they are doing but then the sinister stare and power of the Emperor is just so intense, god that face brings back memories! I always loved the Emperor’s guards as a kid, like I said, I was never one to collect every single figure, but I randomly remember the texture of their cloaks. Funny how things stick! 

It all centres around the angles of the room as it all points towards the central dominant, controlling force of the Emperor who manipulates but ultimately who fails. There are some special details within the scene, it’s not a piece that I wanted to bugger around with, it must be done with respect. I will leave you to spot the subtle touches, but it was all about making everything more dramatic, more fire, more explosions, more electricity, more fun. 

I loved every minute of working on this and I hope I have done it justice and it serves you well.

He's back!

Dark blue, sky blue and gold figure painting.

Painted with emulsion on cotton canvas.

One- Off Original painting. No prints have been made from this piece.

56cm x 46cm x 1.5cm

“If there ever comes a day when we can’t be together, keep me in your heart, I’ll stay there forever.”

I have wanted to interpret the wonderful world of Winnie The Pooh ever since creating the first chapter of my Storyteller works. A recent trip out to the cinema with family to watch the ‘Christopher Robin’ movie was the catalyst to begin as the narrative caught me out, seeing the consequences of neglecting one’s family because of work played out in such a considered manner struck a chord and pulled at the heart strings. Innocent yet guilty.

The challenge for this piece was deciding what would be best fitting, to embrace the beautiful sunlight that shines through 100 Acre Wood or to stand in the shadows of the Heffalumps and Woozles. If I’m honest, it’s a pretty even split as there is so much within the original narrative and the theories behind the characters that lends itself to a very intense and complex piece. However, at the time of planning this scene the sun was shining through the studio window and the clouds had cleared within my mind so what we see is an image that embraces everything that is enchanting and uplifting, created to make you feel comforted and nostalgic.

New works will feature modern-day references to link to the world that we live within and seek to escape from when we reminisce, acting as a stark contrast and helping to relay my narrative. This is showcased within the scene in front of you as you look out across the stunning East Sussex landscape. A table is being set for afternoon tea, but for whose benefit? Look at the details that surround the bench, is this simply a case of parent playing out their child’s fantasy or rather their own? Maybe their love for the story still takes up so much space in their heart? Has obsession won through and the only friends dining are those still cherished from childhood? Sometimes the smallest things take the most room.

As a father experiencing the pressures that come with having a beautiful daughter racing towards her teens, it is becoming increasingly evident just how the world we look back to in seek of comfort is so completely different to the one that we reside within. This piece reflects that, it’s a tale of contrasts, darkness and light yet represented in a different way. The scene acknowledges the change from how we used to read the stories by A.A Milne as children to how ours often now do. Does that mean that the screen dilutes the scene? Probably not, is there a case for pixels actually creating a much more engaging and immersive experience for the young mind? Possibly.

My aim, as with so much of my work is to create interaction between characters, to convey emotion. What I strive to achieve is creating an image that isn’t static, where what you see now is different to the one that I created a moment before. A stark iPad left in the grass soon attracts the attention of a woodland rabbit, or two ladybirds become acquainted… It is very much what you can’t see that is as important as what you can, that is where your imagination is awakened.

As the process of creating these pieces evolves over a good number of days they can often end up very different to what was initially intended as my mindset may change, even for that short moment. I will be honest, with this piece I had to fight the urge to mutate the concept and inject another level to the narrative based around the modern-day gadgets but out of respect for all of those who adore Winnie and friends I chose not to. It’s still there, I’m just not going to tell you!

So many know and love the characters for their ‘Disneyfied’ feel and I can see why, however further embracing the contrasts I have chosen to show the original toys that Christopher Robin owned as a child that inspired his father to create his masterpieces. They are beautiful and show their age and personality so well. Christopher actually lost Roo in an Appleyard back then so exists in the modern state, sat next to Kanga this reinforces the concept.

It’s amazing what happens when there is tea and honey, everyone and everything joins in. What’s with the random black bear cub and swan? You won’t find these within the Disney store yet these are two fundamental animals that without them things would be very different. Pooh bear was actually inspired by both, Winnie being a Canadian bear cub that Christopher Robin saw in a London Zoo and changed his teddy bear from Edward to Winnie. As for Pooh? Well, originally Pooh was a swan, a different character entirely! I hope you enjoy this piece and it keeps you looking towards the sun. X

Keep Moving Forward (Rocky)

This is the third instalment of the Rocky series that I have created since I released ‘BALBOA’ back in 2016 which was the first time that I demonstrated a style that is now easily identifiable as my work with the figure being made from smoke. 2019 saw ‘One More Round’ released, a gritty scene piece that was driven by an underlying narrative. So, for 2021 I have changed it again and captured the dramatic, and much-loved fight scene between Rocky and Drago using a style that differs again. 

If you look very closely, not ideal on a screen but you will spot that the figures are made from tiny dots that radiate outwards. It is an effect that was actually born way back from some earlier graphics work when creating a boxing equipment brand and its marketing imagery, so I love how I have been able to reignite and reintroduce here. It is all about the movement and the emotion as the two battle it out. These tiny dots amplify the drama, they represent the sweat from the muscles, the blood spraying from Drago’s mouth as Rocky lands a massive hit. Supporting this is my abstract ‘push and pull’ style that so many love, soft tones that are hardened by cracked textures and painted overlays. 

It is such an incredible movie that represents so much positivity in general, what I love is that although the fight scene is so iconic, you don’t seem to see it depicted in art form. It is the perfect scene to showcase my way of working. It is so vibrant; I love how the gold works with the red against the deep blues. There are subtle references to other pieces that I have done previously, ‘BALBOA’ in its billboard form, there is another piece from the same movie that has been created in a similar style that is integrated into the background along with the brilliant ‘Clubber Lang’! 

The closer you get to it, the more energy that radiates out from it, it is a style that I love and one that I feel that I have made my own. It is the call to keep moving forward no matter what and the sense of being unbreakable that radiates so strongly with so many people even outside of the boxing scene. It’s the underlying sentiment that people buy into, and I guess has played a big part in making the Rocky pieces that I have created so popular and so successful. 

‘I must break you’ - no chance!

My reworking of the acclaimed ‘Tango in the Night’ album by Fleetwood Mac that showcases the warmth of the original tropical scene with a few additional parrots added in for good measure.

We purchased this item and ran through some ideas, FULL CHROME!!! Rob Mitchel came through as always with the help of 'International Firearms' in Woodford bridge we were able to strip down the item and CHROME EVERYTHING. Rob' idea of the ages leather look for the wood coverings has just made this item look incredible!

1/1 in the world 

The AK-47, officially known as the Avtomat Kalashnikova, is a gas-operated, 7.62×39mm assault rifle developed in the Soviet Union by Mikhail Kalashnikov in the aftermath of World War II. It is the originating firearm of the Kalashnikov rifle family. The number 47 refers to the year it was finished

DEACTIVATION CERTIFICATE INCLUDED.

DISPLAY ONLY 

Past pieces such as ‘Who You Gonna Call Now?’, ‘Saving The Day’ and ‘Bustin’ Ghosts’ have each become progressively more lairy and chaotic and I love how much you enjoy my Ghostbusters pieces! ‘Kick Its Ass!’ goes even further, a feast for the senses and an image that hits you right in-between the eyes like a face full of ectoplasm!    

Everyone remembers the ballroom scene and the utter chaos that the guys caused as they wrestled Slimer, the wine glugging blob! So, for me, it was either recreating the ballroom moment or inside the library. To be fair, you can do so many more, Dana’s apartment, the rooftop battle etc. I know how my collectors love it when I create a highly detailed room scene, be it ‘Lost in Hollywood’ or ‘Storyteller’ so I have duly obliged! Just look at this piece!

I keep pushing to keep challenging myself technically, introducing small details that are so difficult to achieve and ones that you may not spot initially but it just adds to the overriding sense of pride, that squeeze in your back cheeks and push out your titties type of pride! Whilst creating what you now see I was completely immersed in the nostalgia from the movies, the soundtrack blaring out and as ever, the courier will always walk in on the most obscure part of it, bollocks to it! 

I never set out with a definitive list of details to include, that is too restrictive as I find that the more consumed, I become in a piece, the more memories that flood back, whilst your true randomness of thinking shines through, that’s what makes you different from other artists. There is a ridiculous amount to spot, the impact of Slimer and the intensity of the proton streams and the backdrop are enough to bite your head off (man!) but I have really gone for it with this, I genuinely didn’t want this piece to finish. Til’ the next one!

The intensity of the GB Fans is unrivalled I feel, I really hope you all love this as much as I have loved creating it, feel free to reach out with any questions on what some of the objects mean, especially the sloth, if you get that then you are unrivalled! Welcome inside the ballroom and my mind! I’m not sure what is more chaotic! Take your time to feast on this piece although may I kindly ask to refrain from druuling! Oh, and don’t worry about Mrs Van Hoffman, she’s an impatient bitch!

My inspiration for this piece is the legend himself, The notorious B.I.G with a contemporary twist of street art.

For this I used a mixture of acrylic and spray paint finished with resin and crushed glass.

Measures 100x150cm

My interpretation of King Kong, the 8th wonder of the world which is inspired by the original 1930s black and white movie. I remember watching the film as a kid and even though the effects are ludicrously bad when you watch it back now it was the whole concept of this huge beast that was kept behind those huge wooden gates, the beating of the drums when a sacrificial offering was given and that moment when you saw him, it is a great film and probably more intense than some of the later versions.

This piece could quite easily have been a jungle based scene piece but I wanted to tackle it in the way that I did with ‘BALBOA’ and focus on the New York city element to truly showcase KONG unleashed on the city through no fault of his own, to show the scale of him and the carnage that followed as a result of mans’ intervention driven by greed.

The piece is inspired by the classic original movie artwork that shows a hugely oversized beast striding forward over the city towards the Empire State building with Ann Darrow in Kongs’ grip. If you look at the face of Kong back then it was kind of odd looking, I have made changes so it is more dramatic and intense and ultimately more intimidating without being too much, I guess in line with how modern film re-makes tend to do with the ‘monster’.

I have used the same smoke and stars detailing that is used in ‘BALBOA’ whilst introducing a looser, more blurred style in places to represent the movement so it isn’t static - for example the woman would have been flailing around not statuesque so the detailing here is quite abstract in places. The cityscape is really gritty and weathered with abstract markings and textures to reflect the period at the time and to create an aged quality as if you are looking at something that was created back then.

What I also like is that it fits nicely within the growing body of work that embraces the ’no such thing as monsters’ concept whilst also having complementing qualities to ‘BALBOA’ without just becoming a re-hash of that particular piece. 

My inspiration for this piece is the bright colours a pretty flowers of Mexico. I was inspired to paint `Our Lady of Guadalupe` as she is recognised to some as a powerful symbol and she’s pretty!

I used a mixture of acrylic and spray paints, artificial flowers and glitter on canvas

Measures 60x80 cm

This is the prequel, or sequel (depending on how you view it) to my 2015 piece that was entitled ‘Toile & Trouble’ and is a dark and surreal interpretation of the Brothers Grimm version of the classic fairytale Hansel & Gretel. This scene shows what the children saw as they stumbled upon the witches house. The whole concept across both pieces focuses on deception and trickery, leading you into temptation and effectively then delivering you straight to evil.

So what you see is incredibly dark and sinister yet sugar coated and quirky, as well as slightly odd! Sugar-filled treats appear much larger than they normally are, or is that just in the minds of those who are tempted by them? As with my other more recent ‘Storyteller’ pieces there are a number of current references that suggest a secondary narrative that I love to inject into my work. For example, the oversized sweets and cakes link to an ongoing concern of child obesity and you will spot subtle objects such as a bottle of cola, scrawled messaging slating the ‘sugar tax’. Have you spotted the pig?!

Look how the gingerbread men appear quite sinister with one coming out of the shadows towards you akin to a horror film, one has already been attacked, is all hope not lost? The swan, a character who guided the children to safety in the Brothers Grimm version appears to be doing the complete opposite here, who can be trusted, if anyone? Do you even trust yourself?

There is so much to seek out and digest (excuse the pun!) within this scene and I have wanted to tackle this piece for an age - it fits perfectly with my ongoing concept of ‘greed breeds monsters’. I guess it really is a classic example of just how you can literally live or die by your decisions and the consequences of being let down and deceived by misplaced loyalty. I mean seriously, who would trust a swan?!

My interpretation of the classic album cover of Purple Rain by Prince. Square in composition to mimic the cover artwork it is an abstract take on the iconic image of Prince sat on his motorbike surrounded by smoke and shadows. This style is a continuation of the silhouette style that I have built up and is a combination of abstract markings, smoke, bokeh and musical staves and notes. The aim being to create something abstract and engaging with intense colours and that is big on detail with the aim of doing justice to such an iconic artist. 

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.”

This beautiful Neon piece is available NOW

Mixed Media Neon Art built in 2020 using PINK neon on stainless steel.

Gold & Cooper leaf details with constellation screen printing.

58 x 58cm

This incredible Skull gum ball is made using resin, steel ball bearings and fully sprayed silver and gold chrome.

Collection only

1/1

64cm x 20cm