Mark Davies

I am so proud to showcase this next instalment of my adventures within the enchanting world of Peter Pan and the spellbinding home that we know as ‘Neverland’.

In 2018 and as part of my ‘A New Chapter’ body of work that celebrated my move to being an independent artist, I chose to portray the wonders of ‘Neverland’ in piece entitled ‘My Idea of Heaven’. Creating this piece was incredibly calming but challenging, I had set myself a high target to create the most beautiful scene imaginable. The more I worked into the piece, it took precedence over ‘Neverland’, the detail is there of course but something existed that influenced my way of thinking. For within ‘Heaven’, as with ‘Neverland’, age is irrelevant, you become truly free, reunited. I have always loved the end results, but I knew that so many of my collectors were desperate to see a piece that was more in line with what they imagined their ‘happy place’ being. I had always said ‘never say never’. Never is an awfully long time after all.

So here we are, it’s February 2025 and I have delivered on my promise. ‘Always Be Waiting’ has been created in the hope that it is everything that you hoped it would be, bright, bold, beautiful, surreal and enchanting. In February 2024, I focused entirely on one single image (‘Love Ain’t Dead’) to allow me to throw as much time and thought as needed into creating a statement for how that year would run. It worked! Years prior to that I had released a set of three pieces, but I much prefer just focusing on one at this time of year. It would take as long as it needed to, which is how I always treat each piece. I guess it is a combination of me being respectful of my collectors and not overwhelming them, whilst also being mindful that, through their loyalty, I am incredibly busy!

There are so many possible directions that I can go down with ‘Neverland’ and without a doubt I will, in time. Going in land would be dramatic and whimsical, I already can picture it! However, I was drawn to building my own interpretation of a mermaid lagoon under a magic moon as I absolutely love the effects of turquoise waters that ripple and at certain moments reveal what lays beneath its surface. It is a perfect balance between land, sea and sky as each is of equal importance. I love to hide details within textures, I absolutely love how Peter’s side profile is formed within the clouds that build. It’s that ever-changing process where you just happen to see it before it starts to bubble back into normality. The children are also then depicted within the clouds. The contrast between the star canopy and giant moon against the warmth from the rising sun is so powerful.

So there you go, has it been worth the wait?! For me, yes without a doubt. I love it! It is incredibly satisfying as it represents an artist who has found a balance between staying true and continuing to tell their story and keeping in mind the tactical element of timings, which is a tricky one as absence makes the heart grow fonder…or forgetful. I will always listen to feedback and encourage interaction. As always, I see this as a collaborative effort, and I hope that you love this piece as much as I do. Dreams do come true, if only we wish hard enough.

'Driven by Dreams' is available in original, premium canvas, large and standard giclée print editions with the option of choosing to specify hand embellished editions should the artist proofs be unavailable, whilst also offering the opportunity to upgrade to a stunning custom frame.

To celebrate the opening of their brand-new Destination Porsche Centre, Mark was invited by Porsche Centre Cambridge to create a striking piece that showcased their brand and that was innovative and true to his style of working. 

'And here it is! A truly immense line up of incredible cars that featured in these movies: ‘Against all Odds’ ‘Arthur’, ‘Bad Boys’, ‘Death Race’, ‘Gone in 60 Seconds’, ‘Good Guys Wear Black’, ‘Le Mans, ‘Maverick’, ‘Scarface’ and ‘Top Gun’! Oh, and there are a few things in the sky too! The backdrop has turned out so well, a blend of Hollywood and Miami with a wonderfully subtle detail for the Porsche brand icon up on the hills above Los Angeles.
 
All the above have turned out so well but it is the result of the central crest that is being uncovered from the shifting sands. I love to challenge myself technically and this was so worth it, the piece would have worked beautifully, yet with this detail it adds so much, and I feel epitomises a quality of what Porsche represents – going the extra mile in pursuit of absolute perfection whilst radiating class. The distinction is in the detail.'

'Writing this post event, I sit here with an enormous sense of pride for what has been achieved not only with the image that you see now but how the entire project ran and to have been able to play my part and contribute towards such an innovative and prestigious event. The reaction has been amazing and is hopefully just the first stage of a wonderful journey!'

The sequel to the incredibly popular 'Bollocks to Bedtime!

WAZZUUP!

Who would have imagined what would follow on from when I first created ‘The Memory Remains’ right back in my formulative years as professional artist. I knew there was potential with the heart-warming sentiment behind that piece and despite me writing this, sat staring at a screen knowing that I need to invest in some reading glasses, I have never been one to be short sighted.

Like I said, I knew there was a cracking potential to write many more chapters, but the way this has evolved into many different scenarios that paint a picture of so many of our childhoods has been so much fun. Without tooting my trumpet, I love how my mind works and to do this as a career is, well, the bollocks! However, I genuinely believe that a catalyst for the way this story has grown is down to you lunatics! The way so many have adored my retro toy laden art has been amazing and has inspired me to create what I have done over the past years.

Despite how successful ‘The Memory Remains’ series was, I stopped it at the four pieces. Not only did that reflect the very first concept and layout of the original scene but I didn’t want it to end up having more spin offs than ‘The Fast and Furious’ movie franchise! Yet, it is the determination to think outside of the box that has led to the parallels that have been born, such as ‘Skool’s Out!’ and the latest ‘Bollocks to...’ pieces. I wanted to open new windows into other scenarios after the point when we took those toys home from the toy shops, whether that be to the local park in the summer holidays, the Lido, or our homes.

Back in 2022 I created ‘Bollocks to Bedtime!’ and it was an instant hit, selling so well as limited edition prints and more recently the collector’s puzzle. Keeping that trumpet locked away, I still must admit that it does look a bit good doesn’t it! So, for 2024 I was keen to expand on this and not just show another room in the house but to show how us kids turned into teenagers and all the chaos that came with it. Positioning the scene would have meant that the troublesome teens would have been living in the early 90s’ which was a brilliant era! This immediately generated so many potential references to draw from as well as reigniting some wonderful memories.

Initially, the plan was to open the door into the teenager’s den, to allow me to combine the links that you all love, classic movies, arcade games and retro toys. Yet what you now see is much different and I feel even more engaging. What I have done is to create the ultimate basement hang out for big kids, where the entire family refuse to grow up! This link between the kids and parents was formed through showing you through into the garage and a pristine Harley Davidson parked just behind a gleaming Ford Escort Mexico! What is great is then noticing how some details show that the parents also used that space in the past and it now forms a cracking place for the family to hang out as individuals and collectively. Oh, and even the family dog wants a look in, maybe to just laze about on the battered old sofa, speaking of which, does it look familiar to you?!

As with so many of my pieces that totally immerse me whilst creating them, this scene grew and grew as more memories flooded back in and the concept evolved. As with ‘Bollocks to Bedtime!’ when the title came from a last-minute edition into the room, the same happened here, albeit slightly earlier on. Some pieces see the title born right at the start, but this was an example of being aware that what is being created is amazing but having no clue as what to call it! I will give you a little insight, there was mention of doing a ‘Toy Story’ piece next year and it was from that where the title would come to light. It was that refusal to let your cherished toys from earlier years go despite becoming a teenager, we can all relate to that, and I remember the boxed up toys from Andy’s room in the movie so it started me thinking!

Despite the focus needing to be kept on the early 90’s, I have shown a corner of the scene to have a number of boxes that were destined for the car boot sale or garage and have been intercepted. The scrawled writing tells you exactly what was thought to that! This was great to allow the visual and conceptual link to previous pieces, as I love how many of you collect the series of these to display in your homes. It also is where the title came from, and from this point is where I started injecting some subtle details to mimic this, just pure good fun! Just like the kid’s bedroom, the basement is an absolute mess! The closer you look you can clearly see that a few parties have been held down there, PARTY TIME…. EXCELLENT!

I am so excited for the reaction to this piece; I didn’t want it to end when I was creating it. Whilst the previous piece was vivid and lairy in its colour palette, this is bright but warm, it reflects how it makes you feel when you position yourself in the scene and how those wonderful memories come flooding back. We all need that don’t we. The importance of a family unit and a great upbringing that we maybe took for granted at times. So, it’s not just a piece focused on the past, no. It’s one for the present and the future as it reminds us how we can create many more memories and live and love the right way. At the risk of sounding a bit soppy, I just absolutely love how I feel from producing my nostalgic scenes, I need it and clearly so do you. We all have different memories to look back on, those brightest will always remain. Sometimes the years that followed would have blackened them but to know that my art helps to reignite that flame is inspiring and to hear of your reasons for collecting my work is genuinely humbling. Love you guys!

I will sign off with three other words, BUM, WIGGY… BOLLOCKS!

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!  

The latest in Mark's incredible 'Back to the Future' series!

Back in 2016, I created ‘Lost in Hollywood’, a collection of movie-inspired pieces that took my sales to a whole new level and I haven’t looked back since, well only in a nostalgic sense. That body of work gave me the opportunity to showcase my love for the ‘Back to the Future’ films as I created ‘OUTATIME’ that opened the doors into Doc Brown’s workshop in my own unique way. A ‘sold out’ piece that has since expanded to an array of artworks to showcase the three movies. ‘OUTAIDEAS?’ no chance, ever! Eight years on sees a brand-new piece ‘OUTAGAS’, and it is a belter! An edgy, gritty scene that is an absolute must for fans of the ultimate time machine! 

I have been lucky enough to have a ride in an incredible replica of the DeLorean and seen the musical on Broadway, it’s a genuine love affair driven by vivid childhood memories that I hold so closely. Given by the reaction to each piece I create, it seems I am not on my own! Thank you. You guys know I love to place an iconic movie car into my work and the impact of the time machine is immense, it just looks epic from all angles. So, in contrast to ‘OUTATIME’ where I set it to just seeing the arse-end of the car, you now get to see it in its full glory, parked side on in front of a derelict gas station. It’s great to just create something that is ultra-cool and can be enjoyed for what it is without having to search too deep as to what is going on.

A previous piece ‘OUTAREACH’ featured Doc and Marty, riding high, not giving a cluck and it worked so well. I was tempted to introduce characters to this scene, and it would have looked great, however, there was this intriguing quality that radiated from this sense of abandonment that pushed me towards leaving them out. It just leaves it open to interpretation for you lot to decipher what is going on according to how your mind works. It’s a sense of teamwork that I’ve always enjoyed throughout the past decade. However, it didn’t stop me introducing the odd chicken, have you ever seen one fighting a vulture? Well now you have, who wins out though?

I’ve always embraced the qualities of derelict and disused buildings right from my first ‘Storyteller’ works, I find them fascinating and allows me to breathe new life and detail into them. This old gas station has turned out so well. Originally, I was heading down a different road with it as I was going to set it at night with a vibrant neon glow, but I felt that the desaturated palette was more in keeping with this current body of work. It has an aged and weathered quality, and I am really pleased with it. I do enjoy contrasting this static nature of the scene with dramatic movement as you see the vulture swoop in, met by the chicken who is trying to protect something that if fallen into the wrong hands can prove very dangerous – but is that the Plutonium or the Sports Almanac?

The DeLorean quite rightly steals the show, but I am so pleased how the supporting vehicles have turned out, I haven’t featured these before and they add a real quality to the scene. Marty McFly's 1985 Toyota Pickup SR5 is so damned cool, whilst the quirkiness of the VW camper is a nice contrast to the violent nature of its use by the Libyans. Did I stop there? Nope, there’s a third hiding somewhere! As well as the obvious, there are some cracking details to decipher and I won’t spoil it for you, most of those I meet who love the three films are proper die-hard fans (of the movies not me!) so I am sure you will get it! The glass bricks are a nice link back to ‘OUTATIME’ and the orange tones are a nod to the colours from the main logo. Ultimately, I guess the success of this latest instalment is probably what has been left out as much as what has gone in.

So does the title ‘OUTAGAS’ signal the end of the road for these pieces? Hell no! Where I’m going, we don’t need roads. I’m sure I’ve heard that somewhere before. Feel free to chip in with a possible new iteration of OUTA… as I have used a few so far! I’m sure we can get to eight, maybe not eighty-eight but let’s see! Over to you guys! Seriously though, the success of my Back to the Future pieces showcases the true power of love, for our shared love of these incredible movies. I couldn’t do it without the passion and commitment from you guys, people like you just fuel my fire.

It’s been a good few years since I first created ‘He Who Dares Wins’ – a quirky interpretation of the British comedy classic ‘Only Fools and Horses’. The reaction to that piece has been TRIFFIC! It is a truly brilliant sitcom that so many of us love and the memories that are tied to it. For me personally, it is those evenings sat as a family watching the programme and the loudest of laughs that I would give anything to hear again. I guess this is why my nostalgic artworks resonate with so many so strongly because of the authenticity of which I work, with that need to reconnect with the past. It helps and ultimately generates so much good from it. CUSHTY! 

I love my pieces that are littered with references and links that create this wonderful ‘seek and smile’ interaction with my collectors. It’s funny, I work with such an intensity when I am in the throes of building each scene that I often forget where I have hidden a particular reference and even occasionally can’t even fathom what I was thinking! What a plonker eh! ‘He Who Dares Wins’ was so successful because of the level and type of detail within the Miami mansion, and the unique approach to it, I always shy away from simply recreating a set or scene, too easy and just not me. I’ve been so keen to create the follow up piece and I am so damned happy with the results!

When I was planning this piece way back, the initial thinking was to position the three-wheeler out front of Peckham market, but I wanted to make more of it, to be more complex, complicated to create and ultimately more rewarding. I took reference from my 2019 ‘Up for the Cup’ piece that featured the rusty old banger in front of a line of shops and London pub, whilst it wasn’t an ‘OFAH’ piece it was a catalyst for what I would then create. I also drew reference from the original ‘The Memory Remains’ street scene but pulled it outwards so that it became much more complex and allowed for so much more detail, and chaos!

‘Hooky Street’ is a bonkers celebration of the crazy antics of Del Boy, Rodney and friends as their lunacy plays out on the streets of Peckham. In line with ‘The Memory Remains’ composition, we see the ‘Nags’ head (formally the ‘White Horse’) set to open and do as roaring trade! Next to that we have ‘Marlene’s Bookies’ that could just make you a millionaire, one day! Oh, and there’s no VAT! Residing above the ‘permed princess’ you will find an auctioneers and pawn broker where watches are their speciality. We then see a small smoke-filled alleyway that leads down to ‘Club 121’ that might just get you in a spot of bother but fear not, a caped Crusader and sidekick are coming to the rescue! KAPOW! Last and no way least is ‘Boyce Autos’ (formally ‘Albertos Autos’). A gritty and meagre garage that sells used cars of distinction, allegedly! Well at least it does have the perfik family motor! It’s a hot buy and handles like Maradona! You might think that Boyce’s gaff looks a bit grotty compared to the empire that he had. Well yes, that’s exactly it. This scene shows the moment in time before the boom, before ‘Trotter time’!

‘Only Fools and Horses’ is testament to how significant the theme tune to the sitcom should be, it just makes you smile doesn’t it. How many of you lot know the words from start to finish? Well the words are well represented within the scene, I am not one for line listing all the details as I would rather you seek them out. However, what I can promise is we’ve got some half-priced cracked ice, and miles and miles of carpet tiles, TV's, deep freeze and David Bowie LP's, Pool games, gold chains just to name a few! Oh, and you better spot the ’smog’ reference and did Banksy steal an idea from years back?! C'est magnifique ‘Hooky Street’!

I am so happy with the outcome, I wanted to create something quirky, random, with a real comedy quality but something that had a gritty edge to it. It had to be different, unique, and authentic, even if nothing within it was! There are so many references and memories to draw inspiration from that I can keep on creating for another decade, and you know what? I might just do that! The sitcom suits my random way of thinking, it allows me to include so many bizarre links to baffle you, and me!

This was another example of not wanting this project to finish, I loved every minute of it and I am so glad that I waited for the number of years to produce it. I love what I do, and I am a better person for it, it helps just to smile doesn’t it. The first piece travelled all over the place, and I can see this one heading out from Hull to Rotterdam, from Paris to New York and if it lands in Margate then I will raise a Caribbean Stallion to that! I know how much you guys love this sitcom and the first piece so I hope I have done it and your memories justice. You want the best ones, well then brother, I’m your man! You might just have to stick more than a pony in my pocket to get one!

God bless Hooky Street, Viva Hooky Street. Long live Hooky Street!

Superman – ‘There is a Superhero in all of us’ - Large Limited Edition

I will be honest; I bloody love this image and the character as a whole. For me, this captures that moment when Superman with all of his power and accomplishments just stops to reflect. I love the contrast between being stood still in front of a cracking and damaged Earth yet surrounded by a fierce wind that blows his cape up and outwards. What is he thinking about? What is he contemplating? That iconic ‘S’ on his suit dominates and from it radiates out these tiny details that I have used in previous pieces, but which?

Ok, so I’ve just finished writing the narrative for ‘Bollocks to Growing Up!’ and now I switch to this! If there was ever a testament to my darkness and light contrast to my art and mindset, then this is it! We all have a dark side, some more than others but this extreme contrast within my work doesn’t seem to conflict as so many of you collect from both sides of my portfolio, filling your walls with my art with people often shocked that they are from the same artist, which often leads to collectors being unsure just what type of character they will meet at a show! I love that! 

My Autumn / Winter iteration of ‘Decadence’ was perfectly timed to allow me to create a truly sinister piece to tie in with the darker months and Halloween! With only four pieces being released, the shocking contrast between the artworks is so powerful. My earlier ‘Storyteller’ works were very dark and incredibly complex, a much more niche approach but one that is as authentic and honest as they come. This then evolved into my ‘Lost in Hollywood’ series where I would embrace this ability to go into a dark place and take on some of the most iconic horror movies. Earlier this year, I created ‘REDRUM’, a striking interpretation of ‘The Shining’ and that has proven to be adored by fans of that genre. This time however, I set about creating a combination of horror movies in the same fashion as an earlier ‘Spielberg’s Hollywood’ piece that worked so well and has been so well received.

As with ‘Spielberg’s Hollywood’, the initial thinking was to set this within the cinema itself but again, I feared this could be restrictive and I do love working with an eerie forest as a backdrop! So, what we see is a creepy cinema frontage rising from the moonlit forest amongst the haunting mist that creeps and crawls in the same fashion as those who roam amongst it. It is that stalking nature that I wanted to focus on rather than creating some shocking ‘gorefest’. I just felt that it was more in line with my work, and I wanted this piece to be able to be enjoyed by many, oh and plus I don’t have the stomach for it! It’s funny, I can’t handle it! My favourite from this genre is and always will be the original ‘The Woman in Black’ by Susan Hill as it was chilling for its realism. I think it was the first ‘SAW’ movie that proved too much for me to handle but you lunatics seem to love it! You’re a disgrace!

I used to stay in this studio overnight but it’s not a settled place to be as there genuinely is no light at all! I don’t think I could have worked on this piece after dark, when you are so zoned in on a particular character or detail to create that impact it really is quite chilling! What is scarier? A figure who moves, slowly closer or one that stands and watches, ready to move? For me the impact of the girl climbing out of the water towards you in insane! That should have been enough, but you know me! A single drop of blood, the little paper boat from ‘IT’, a reference to the ‘Exorcist’ and then the face! Have you spotted it? Let’s not forget the role of the twisted thorns that move through the scene, sinister and claustrophobic.

I always prefer to leave it to you to seek out the movie references rather than line listing them all. It should keep you busy on those cold dark nights! Let’s see if you dare to turn out the lights when you are done! Perspective plays a key role in this image, I wanted to show the contrast between those who are further away to those who have come closer, it’s that sense of movement when static that I love. Music also is a big part; it pretty much always is with my work. I am a big Metallica fan and their songs have inspired titles for pieces such as ‘The Memory Remains’, ‘For Whom the Bell Tolls’ and ‘Fade to Black’. This combined with the brutal and sombre vocals of ‘Slipknot’ really kept me where I needed to be mentally for this scene. It is ‘Slipknot’ that provide a subtle quality to this image, and you may not realise but it pours light onto the sense of submission and acceptance of your fate through being dominated. Not the brightest of thoughts but you’re looking at this piece for a reason! ‘Bury all your secrets in my skin, Deliver me into my fate’ is taken from their haunting ‘Snuff’ track, whilst ‘You can't kill me cause I'm already inside you. Die and fucking love me.’ is taken from ‘Sic’ and ‘Killpop’ and is pretty bloody dark and twisted as it suggests that even in death that person will live on and can’t ever be killed whilst the second line evokes a chilling obsession with the stalked.

Going back to Metallica, it’s funny as the title came about from a much different moment. I was watching ‘Rob and Romesh do Download’ one evening whilst creating this image and to see them take on one of my favourite tracks ‘Enter Sandman’ was brilliant, I still can’t get their version of it out of my head – comedy gold! Don’t ask me to mimic it at an event but the way they sang ‘Exit Light, Enter Night’ was hilarious, and unique! So that’s how the title came to fruition, brilliantly random but absolutely perfect!

I really hope you love this piece. Even though I may not have the stomach for it and got humiliated by my thirteen-year-old niece who thought ‘The Babadook’ was an easy watch, I do feel that I have the mindset to do it justice and loved every minute of being in the studio for this one. The subtle references, the colour palette and the atmospheric qualities of the scene work so well with the toxicity of those who roam within. Everyone who loves the horror genre has their favourite movie and ultimate character, I have included a cracking number, some more obvious than others and it’s hard to please everyone but I hope you agree with my inclusions.

Sleep with one eye open, gripping your pillow tight. Exit light, enter night. Take my hand, we're off to never-never land.

'‘Are You A God?’ is what you get when two huge creative minded ‘Ghostbusters’ fans come together and cross streams, OK, so it may not be total protonic reversal (that wouldn’t do anyone any good), but it is one heck of a piece of art!

Offered in a range of highly collectible limited-edition formats ‘Are You A God?’ has all the makings of a true blockbuster that shows just what can be achieved when you really go for it and embrace authenticity. The boys did good! Call it fate. Call it luck. Call it karma. We believe that everything happens for a reason.

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. 

The intention here was simply to make everything more explosive and dramatic, through increasing the speed that the motorbike and rider shoot out from the ground and adding more dramatic fire detailing. The cemetery backdrop is even more jagged and intense while the huge bat gives off a greater sense of movement and intensity. 

My reworking of the acclaimed ‘Rumours’ album by Fleetwood Mac that enhances the darkness that surrounded the band yet focuses on the connection between the members.

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!

This is the follow up piece to my 2016 E.T. ‘I’ll Be Right Here’. I have wanted to create this for a good while now as it expands on my original narrative and confirms exactly what was happening in the original scene. What we now know is the ship wasn’t waiting for E.T. but in fact was about to leave without him on the little man’s request. This new piece shows another part of the forest a while later and shows the beautiful moment when Elliott stops his BMX just out of shot when he sees his friend come into view over the rocky crag. It is that interaction, that unbreakable bond that I wanted to focus on and make that the instrumental component in this piece and harness the wonderful friendship that these two characters have.

The only lights that shine are within the sky and from the Los Angeles grid in the distance, I have chosen to omit any search lights from the men that are trying to find E.T. because I wanted to make this purely positive and without question. The forest is alive with little magical detailing, almost like fireflies that glow amongst the ferns. Nestled within the fauna is the iconic ‘Speak & Spell’ that clarifies the piece ‘Elliott I Never Left’. Amongst the rocks sit a subtle NASA emblem, Coors beer cans and an Iguana basking in the moonlight, all supporting references to the Spielberg classic. My hopes for this piece is for it to be a natural progression, to stand alone but complement and to confirm and clarify the open-ended aspect of ‘I’ll Be Right Here’ and to truly do justice to the special bond between the two lead characters.

Jimi’s presence and confidence shine within the original album artwork so this was a great base to work from, yet with this piece I wanted to hint at a softer, more fragile side where he is slightly more dazed in the eyes - either because of toxins or torment. As shown in Amy’s facial detail you will notice that Jimi’s skin is cracking and starting to break up - again something that is quite powerful even more so because he is no longer with us. The colours of the original image have always caught my eye so I have gone for it with this piece to allow for an even more dramatic and ‘cool’ piece that will allow for dramatic embellishing. Another element that I have pushed is the ambience from the original scene, building on the smoke and flame detailing - the smoke more so really does help to portray the intensity of that era working in conjunction with the cracked and blistering background detailing that suggests a darker side.

Inspired by Beatrix Potter's beautiful tales of Peter Rabbit with an underlying concept that fits perfectly with what this wonderful charity stands for in the battle against something so widespread and cruel. My aspirations for this piece were to create a beautiful picture that fans of the stories would love and embrace, for it to sit perfectly within my current body of work ‘Love Knows No Bounds’ where I showcase the interaction between characters and illustrate what someone is willing to do for love whilst also conceiving a narrative of my own that relates to impact of someone living with Alzheimers.

For those who follow my work will know there is a constant, the battle between darkness and light, despair and hope - this was never a pre-planned direction to build a brand around but one that I realised was forming without intention, formed from my own personal battles and the contrasting mindset that I found myself in at the time of creating a new piece of art. A piece would start out with the intention of being completely dark or the opposite yet as my mindset would change quickly throughout the duration of the piece there would be opposing details injected that I started to accept being a window into my state of mind where I struggled to keep staring at the sun without allowing the shadows to grow taller behind me. Creating this particular piece had to be exactly what it is entitled ‘A Picture Of Hope’, to force myself to keep my eyes on the sun in the hope that I won't see the shadows that will undoubtedly always be there. Looking at the finished piece I am incredibly proud that I have managed to do just that and my hopes are that it will offer some rays of light and hope to others for many reasons.

I loved the adventures of Peter Rabbit as a child, I think pretty much everyone did. The beautiful setting, the diverse range of characters and the edge to it with having the constant threat of being caught and cooked by Mr McGregor! I loved the illustrations, the compositions where characters would interact in front of the garden backdrop, the more I looked back in detail the more I realised that this narrative had the perfect blend of darkness and light that appeals so it just had to be the subject for this piece. I have created a powerful and intriguing backdrop set within the Lake District that inspired Beatrix Potter to write her stories originally. So much has been left to the imagination with choosing not to show inside the main garden, to fuel the intrigue of the viewer as much as those that you see in the picture. Peter and family are all there, as well as Squirrel Nutkin, Mr Jeremy Fisher, Tom Kitten and Mrs Tittlemouse - all under the close watch of Jemima Puddle-Duck.

The gate to Mr McGregor’s garden is propped open for all to enjoy, the rusting garden rake that once terrorised Peter and friends stands against it, for some time it seems as the beautiful garden roses have grown up and around it to keep firmly in place. Mr McGregor is living with Alzheimers and whilst he still embraces his deep-rooted love for gardening, he has forgotten to be angry and instead a much more youthful and warm trait has blossomed where he now looks at those who come to visit as friends and seeks comfort in those that bring affection and love through the gate. Whilst hesitant, not knowing how to adjust, fearful at first, those that surround Mr McGregor draw strength and courage from Jemima, a wonderful figure who never stops guiding, pointing them towards the sun. With everyone working as one you find the courage to abstain from the acceptance that a new chapter simply awaits but instead to write new ones, to make more pages within each chapter, to make new memories to replace those lost, to change the ending.

A picture of hope from me to many.

She didn’t live happily ever after, she had her prince, she threw it all away. Holed up in a derelict church, with just the circling wolves for company this hard-hitting piece shows the destructive force of cocaine addiction. Subtle touches and scrawled messaging hint at Snow Whites’ battles to turn her life around and find her true love.

My interpretation of Noah’s Ark, entitled ‘Hell and High Water’ was a great subject to tackle and one that I wanted to do genuine justice to. The title being a reflection on Gods’ act to wipe out all that was bad and bring the flood. There is also a hint there to life onboard the ark, not all plain sailing and that, trying to imagine the frustration, worry, boredom and cramped conditions for all those within the Ark.

The scene shows a beautiful expanse of calm water with a hint of the destructing land in the distance from what they are sailing away from. The tops of the mountains and volcanoes are visible, smoking above the waters, with flashes of lightning. Here I wanted to make you question whether these are visible due to the water not quite reaching the summits or if the waters are receeding and leaving the fires of hell still burning - hinting that God didn’t quite achieve a total cleanse - dark forces still remain. You always see artist interpretations of the Ark being tossed about on huge waves or when you do see an image in calm waters, the ark is sterile and not shown in true context in my opinion.

So I wanted to set about constructing an imposing and intriguing boat, pieced together from single strips of wood and other textures. I wanted to focus on perspective in my work, to create subtle drama in the composition and scale. The Ark is huge, as soon as you add the animals it conveys just how big it is otherwise as it is surrounded by water it would be hard to achieve that. I wanted to think long-term, those on board need food and reminders of their natural habitat. The deck has a cut away area where animals interact with trees, trees that attract birds. The Ark has fishing nets set out, not quite the feeding of the five thousand but another hint of long-term survival.

You typically only see cramped animals on deck in imagery, I have shown sea life following the Ark, all for one and one for all messaging - they are joining the journey for survival. I think by adding the animals, birds and sea life in this way it really adds something lovely without impacting on the integrity of the piece. I hope you like where I have taken this piece, personally I love it and feel that I have created something unique, respectful and beautiful.

This piece explores the synergies between Peter Pan and Michael Jackson and is set within an abandoned Neverland Ranch. An imposing and condemned pirate ship, rusting bus and rollercoaster stand still, surrounded by signs of happier times where childhood innocence was king.

I wanted to show a clear link to Peter Pan and Michael Jackson as it clearly existed whilst he was alive and also plays on the darkness of the original story and the controversy surrounding Jacko. The title itself has a childlike game quality to it like cops and robbers etc which works with the subject matter and mentality.

For me, the dominant fairground ride had to be a pirate ship as I have fond memories as a child from holidays to Belgium (the birth place of my Mother). We would always visit the ‘Meli’ theme park in De Panne and it was the first thing you would see when through the gates, I always remember the loud whoosh of the boat gainst the little tyre and the lights that ran up each side.

The pirate ship and supporting structure was constructed from scratch, using textures and random objects that I saw potential to transform i.e. swimming pool steps for the harnesses on the boat. The green lights represent Peter Pan whilst the blue signify police lights.

Fires burn in the pit below, referencing hell whilst the metal steps in front of the ship show ‘Stand and face the hounds of hell’ a line from Jackos ‘Thriller’ and again represent he darker accusations that existed.

The front of the ship show as a statue of Jacko, leaning forwards like his classic pose. The rear of the ship shows a mermaid as so often does on these rides, put in to link to my previous piece on the Little Mermaid whilst a chimp, ‘Bubbles’ sits against one of the steel legs.

Other key characters such as the crocodile, Captain Hook, Tinkerbell and Wendy are all referenced within the scene whilst the rusted bus behind the ship features graffiti by ‘The Lost Boys’ and the bus shows Neverland on the side, subtle shadows are on the bus also.There is a real subtle silhouette of Peter that exists but that is for you to find!

Through setting the lighting in the way that I have it allows for shadows to be part of the scene, a must seeing as though they are such a big part of the original concept of Peter Pan. Some are simply cast from trees, others have more life to them.

There is always a really powerful feel to seeing a theme park devoid of life, more so when it is being reclaimed by nature. Peter Pan does have a dark side in its’ narrative and original concept and the links to ‘The King Of Pop’ adds so much more should you choose to go there. The sense of loss and sadness is contrasted with the use of vivd colour in parts, quirky details and a beautiful sky where sunlight symbolises hope.

A keen eye will notice a solitary flower that refuses to be overpowered by the wild grasses and weeds that surround it. This further conveys this sense of hope and is actually one of my favourite parts of this piece.

I could quite easily have created a scene set in a snowy forest clearing be it beautiful or dark but I wanted to tackle this piece from a completely different angle. I have set this as a ‘Storyteller’ style piece, one that embraces the depth and intensity that comes from producing a multi-layered narrative that drive the visual and open the viewers’ imagination to decide what has happened, what is happening and what could ultimately happen.

‘For Now I’m Winter’ is the title track of Olafar Arnalds album which together with the vocals of Arnor Dan has become a significant part of my work, featuring in pieces such as “Where Demons Roam’ for example. For me personally the phrase ‘For Now I’m Winter’ represents the acceptance by someone that things are not lost and that there is still the chance to recover from their current state no matter how far gone they are or think they are. So you might be experiencing the bleakest, darkest Winters but you accept that with Winter always comes Spring and with it the shoots of new growth that will if nurtured continue to grow. The question for the person studying this piece is do they see Winter or do they see Spring, are things too far gone or are they in recovery?

The primary narrative for this Narnia piece embraces the key objects and characters of the story and if you look, it still does actually show a forest clearing and snow through the deforestation caused by the battles that raged shown here as fire and also the snow drops that have forced their way through the charred earth. The wardrobe and light, both key objects from the story each have a place within the composition whilst there are more subtle references such as the rotten apple that is a link to the apple tree that was used to make the wardrobe initially.

These details create the scene and help to identify this darkened piece with Narnia whilst the focal point of the piece and ultimately the concept is Aslan, laying slain and restricted by stone, frozen in time. On first study it is a terribly sad scene, the body position and facial expression of the wounded lion that once ruled the land. Yet when you notice the snowdrops that surround him you will start to realise that maybe all is not lost and that wounds if treated can recover.

This brings me onto the deeper narrative that runs throughout the piece, one that most may not identify as being there but its’ there and makes this piece so much more poignant, powerful and ultimately positive. So much of my work is built around hope, shining a light into the darkest of shadows and this is showcased within ‘For Now I’m Winter’. Depending on experience past or present many will be able to identify with this concept either as the first or third person. Aslan is the person hypothetically wounded and in trouble, surrounded by the effects of the fires that burned around them but ultimately lying on ground where the flames have gone out, where new growth is starting to surround them.

The solitary dove feather that rests on the body represents the lasting impact of a loved ones’ care for the person in trouble, in Winter. The wardrobe is the open door, the escape out of this world, this is an incredibly powerful part. It could the permanent route back when Spring comes, it could be a temporary escape mechanism or it could be much worse when all other doors close. The galloping Fawn who is running away from the fire symbolises those who choose to run rather than help the person in need, something that is sadly all too common. Finally the light represents a pillar of hope and is what we are all drawn to, the light that shines brightest when surrounded by darkness.

For now I am Winter, lungs renew…

My interpretation of Michael Jackson’s ‘Moonwalker’ created using my
smoke-filled silhouette style of working. My 2016 piece ‘Policemen & Pirates’ (Peter Pan) touched on the downfall of the ‘King of Pop’ and the controversy that engulfed him so for this piece I wanted to throw everything into depicting him in a way that epitomised his mastery of choreography and iconic stature.

This piece is 100% good and positive, allowing him to shine and command the canvas as he did the floor. A constant stream of his classic albums whilst creating ‘Moonwalker’ such as ‘Thriller’ and ‘Bad’ certainly brought back good memories listening to them as a kid, interestingly though listening to the tracks as an adult with a genuine love for music the mastery of Michaels’ work was so much audible.

This piece interprets the iconic stance from the film, placing him in the smoke-filled bar that threw out so much great colour and light and draws all of that together to form his body to once again light up the room, whether you choose to see it as simply a cool depiction of Michael or his ghost is up to you but I wanted to further expand on the style that I am working closely with and take details that are used to construct pieces such as ‘BALBOA’, ’Teach You I Will’ and ‘Love Will Find A Way’ and utilise them in a way that delivers a seriously cool piece of art that can simply be enjoyed and identified with.

The level of detail is pretty insane close up but comes together to work well when reduced down so as to grab your attention, I have included some zoomed in detail in this email. This piece has been created to showcase the potential and possibilities of expanding on music icons in this style that sees the detail and intensity adjust depending on the subject and their characteristics that are shown. I wanted to create a subtle sense of movement here to show that Michael has just moved into the pose you see him in, so a fluid drag of the leg or raise of the arm is portrayed in the intricate detail that radiates from the figure.

When you throw yourself into creating a piece like this and surround yourself with that persons’ work even though the piece keeps the dark out you cant help but feel sad to see how that star has fallen which I feel contributes to the power of the image. Ultimately my aspiration with this piece was to create something that was different to what exists by other artists and to avoid being ring fenced as just another icon that people would buy because of their love for that character, I wanted to do something genuine from one artist to another.

The original film plot and my concept are all about hope and freedom through courage and faith, to embrace the smallest of things to find happiness and to rebel against restriction. The underlying concept in this piece is one that embraces all of this and shines light on a person’s hope that someone that they know and love can find freedom after restriction, be it in this life or their next. The title of the piece ‘You’ll Sing Once More’ is one that is like a silent statement that you would say that that person, one that you convey to them without the need for saying anything at all.

When this sentiment is conveyed I feel that it elevates this piece to a much higher state as the character in view takes on something so special to so many. I set about with the aim that this sense of freedom could touch many and in a number of ways, it can simply evoke that great feeling you get from being completely absorbed in music and free from reality, something that I embrace and need whilst creating my artworks.

This piece is an abstract take on the iconic Salzburg countryside with its mountainous backdrop and dandelion covered grasses, a number of textures have been created and integrated to form an engaging backdrop that has a painted quality to it that is full of movement and light. As with other pieces that I have created I have depicted the lead character as a spirit-like silhouette that is formed by sweeping lines that symbolise the staves from a line of music along with music notes and bokeh whilst subtle areas of the body have been blurred to give off the sense of movement and ultimately freedom.

In line with this sense of setting a spirit set free I wanted to portray time passing so rather than show the classic yellow dandelion flowers I have moved the season on to show them in their white seed headed state where they are taken up with the wind into the sky and interacting with the character.

This I hope strengthens this lovely sense of being free, the soul being released from the body and taken up to create something new and beautiful, maybe something that can only be seen just for that split second when the sunlight breaks through. A further reflection of this wonderful sense of freedom and flight is shown through the subtle butterflies that are attracted to the figure and to the freedom and good that radiates from it.

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. 

'RUMPOSILSHKIN' - The follow up to my 2015 piece 'Say My Name Bitch' which unlocks and kicks open another door into this incredibly dark story
originally told by the Brothers Grimm.

A little white lie - does white represent innocence here? Not in this case. What started off white quickly blackened from the fires that burned from treating those around her like her servants whilst she laid about dreaming of riches, completely blinkered to the carnage that she has created.

They say greed breeds monsters, god ain’t that the truth! She saw an opportunity to take advantage of someone who worked tirelessly for her and who continually covered up her lies while she took the credit for everything. Abused and tormented yet with an unwaivering industrious manner that risked snapping himself in two, determined to keep to his promise until that moment when the last straw was reached and then no more.

A broken man made to feel worthless, turns to drink, turns to chapter 2. Turn the corner, turn the page, it’s blank, pick up the pen, fill the book.

A life built on a lie, well things aren’t turning out like she’d hoped. Merely a tenant within a castle, a castle with foundations cast on sand. Karma is king of your fucking castle bitch! Make hay while the sun shines because your storm clouds are growing taller behind you and the flames that follow mask out the sun that you chase.

Time will tell if she gets to wear her crown but being a queen isn’t always what it’s cracked up to be - when the King gets bored, heads can roll! Just ask Anne Boleyn!

In 2016 I created a piece entitled ‘High Ho’ which showed Snow White in a very different light. She had her Prince, she could have lived happily ever after but she threw it all away and ended up hitting rock bottom, holed up in a derelict church within the forest, devoid of money and self-worth she had resorted to other ways of feeding her habit. Yet what defined a happy life? A life built on materialistic luxuries that glossed over the cracks that ran riot.

The hope was to create a piece that makes you change your opinion on the girl out of view, we can be so quick to judge and dismiss. I try to encourage a closer look, for clues that create empathy towards the young woman. Is she a monster, or is she the victim of the cards that she has been dealt?

So for this piece entitled ‘Fear Is How I Fall’ it sets a scene that can either be the prequel, or sequel depending on how you view it. Have you walked into her room before her downfall, where you notice the contributing factors starting to blow in from the world outside? Or are we actually in fact seeing her after being rescued once again by her Prince who simply could not walk away like others who had already done so.

If you favour the latter you will notice that cracks remain, clouding the clear. Do her phantoms still stand tall behind her? Her wounds, they will not heal. The title ‘Fear Is How I Fall’ suggests fragility, bringing with it empathy. There’s something inside her that pulls beneath the surface, consuming, confusing.

This is a classic example of how I strive to show the proximity that darkness resides to light, where one can so easily fall back yet equally walk clear. Will good win out? Will she live happily ever after? I really hope so!

Throughout my earlier ‘Storyteller’ works I have loved creating pieces of varying styles and scenes that showcased the wonder-full world of Mary Poppins. The narrative has always appealed as there is such quirky, randomness that glosses over a darker undertone that runs through. 

A long-running story that I have been building suggests an intense relationship between Mary and Bert, one built on dominance and a battle for control yet one driven by an unquestionable love for one another. There are further suggestions to this within this crazy and bizarre scene that is overrun by birds - well they were warned not to feed them!

The working title for this piece was ‘A Spoonful Of F**k Knows!’ as I wanted to create something completely and utterly random! This scene set within Regents Park in London is a follow on from an earlier piece ‘Cast Off Your Shackles’ where this time a magical Carousel dominates the scene and provides the platform for so much detail to interact with it.

The aim was to create a piece that is so intense, bold yet pretty, classic yet current and I hope that I have achieved that here. This piece along with others within my latest ‘Storyteller’ works showcases a slight shift where I have sought to bring pieces that might initially look classical bang up-to-date with references that suggest a much more current time frame. These may just simply be fun references that give the scene context to the lead characters who you don’t get to see or other more topical and political details. 

This was a cracking piece to create, incredibly challenging from a technical point of view but so worth it. I take equal satisfaction in placing two Flamingos within a giant tea cup (not much reference material for that!) to seeing my beautiful British Bulldog George make his debut, I might be biased but I think he might just steal the show!

‘Stop Feeding The Birds!’ is a showcase of how I love to create a scene that initially looks to be all things bright and beautiful yet the closer you look you notice things within the grass that shift things ever so slightly. It represents the acceptance to just how close darkness exists to light in this fairground ride that they call life, however the ultimate aim is for you to join me in celebrating Dear Old Blighty!

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?!

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.

This was the first piece that I created for my ‘Retrospective’ collection and I loved every minute of it, and there were a few, it took bloody ages! In the back of my mind was the pressure that there needed to be a sequel for ‘The Memory Remains’ and that was always going to be inside the toy shop. Collectors really loved the street scene and my aim for ‘Mad For It’ was to create a music driven piece that had similar traits to the street that was littered with details but from another era.

I was lucky enough to be a kid in the 80’s but wow what a decade the 90’s were to be a teenager in! I started off being drawn more to the likes of the Chemical Brothers and the Prodigy, oh and randomly 70’s disco classics! My biggest musical regret was missing out on the iconic Oasis at Knebworth concert as it was just down the road from me and my mates had the time of their lives there. I remember listening to it unfold on local radio and from then on, I was hooked.

As like the brilliance of the nu-metal bands in the late 90’s and early 2000’s, the ‘Madchester’ era was like no other, what a phenomenal number of bands from such a concentrated spot in the U.K. My aim was to capture this along with a large number of iconic references that we remember well from that period.

The very first seed for this piece started years back and it was going to focus on the iconic Hacienda yet that switched to what we see here where we focus on the earlier stages of each band where they played in dark and cramped clubs. As like ‘The Memory Remains’ piece that gave you a glimpse of what lay inside, we get the same intrigue here with a look into the smoke-filled venue where all of the bands played before moving onwards and upwards.

I have always loved music album cover artwork and there are quite a few for you to spot, some subtle whilst the most blatant being the iconic floating Rolls Royce that was inspired by the Oasis ‘Be Here Now’ album cover.

I will leave you to seek out all of the details, some are completely random as you have come to expect from me – anyone who can explain the ‘Flipper’ dolphin reference is worthy of wearing a crown for the day! I absolutely loved creating this piece, the soundtrack in the studio was something else and without doubt contributed to the success of this piece and prompted a good number of last-minute references. Slip inside the eye of your mind as some might say.

I have and always will be absolutely shit at ‘Streetfighter 2’, I took so many beatings. I studied the small print to try and master the moves but my tactic just resorted to pressing every button I could as quickly as I could. My favourite was always Blanca, what a beast! I loved Dhalsim – he was like a double-hard Inspector Gadget. I despised Ken, arrogant as hell but he could do the ‘Hadouken’ like no other, so he had to take on Blanca one more time, oh and his crisp red outfit complemented my beast’s mane so the stage was set. FIGHT!

My brother had a NES, I was useless at ‘Duck Hunt’ so I stuck to ‘Paperboy’ on the Amiga. My mate John had a SNES and ‘Streetfighter 2’, he was great at it – why was I so bloody useless? I loved the game, a million miles away from ‘Potty Pigeon’! I think I did improve, slightly but would always get slapped down by the fatty in the nappy or my head kicked off by a screeching girl.

Yet ignoring my pitiful displays my memories I take from this game far outweigh the embarrassment and I loved creating this piece. Has it made me want to get back involved with the game? Yes. Will I be any better now we have the use of the internet ‘how to’ videos? No chance! It has made me think back to quality time with quality life-long mates who I know more than ever that I need to make time to see them more, different world, new battles, same characters.

The original plan for this was to create a really gritty market scene and have the characters fighting amongst it but after seeing the vibrancy of the ‘Masters Of The Universe’ piece I changed direction and chose to use a backdrop of a stunning temple where the full spectrum of colours could be embraced and amplified. So, what you see is actually brutal yet beautiful, something that I have often embraced in darker pieces where we consider the negative as an art form and a thing of beauty through striving to master ones’ skill.

I also always intended to overlay the scene with gameplay screen details such as the ‘life bar’ and scores but I decided against this once I saw how intense and real the scene had become and it really felt like you were stood there watching the fight unfold rather than simply playing a game. This is the very quality that I hoped to achieve where you are using every bit of your imagination to really live the moment. I am so pleased with the end result that it has 100% created the platform for exciting developments… Round Two!

This incredibly powerful film has been on my radar for a good while for a number of reasons. The intensity of the narrative and the lead characters is genuinely fascinating whilst the plot fits beautifully with my love for all things darkness and light and the body of work that I have built that portrays this contrast. The ‘no matter what it takes’ mentality of the two lovers is incredible and in-line with other past pieces such as ‘We Are Together Now’ (Beauty & The Beast) and ‘Love will Find a Way’ (Romeo & Juliet). It is that strength of character and resilience that has always struck a chord and personifies the concept of what one would do for love. Another appealing factor was the fact that the story is set within Paris, a city that I have such a love for and have shared so many special memories within. I originally planned to tackle this as a classic ‘Storyteller’ piece that was built on an intense scene that centred on the iconic windmill. However, with a partner who has so many classic Parisienne posters I chose (was pushed!) to interpret the striking movie poster from 2001. This way I could focus on the intense connection between the two characters in the same way as I have previously done with the two pieces mentioned above. With this more abstract style it allows for a sense of movement rather than being static, it allows for the intensity of their emotions to radiate outwards from them through subtle signature details such as the love hearts and butterflies. Every element has been amplified to create more emotion and a bigger impact. For those who aren’t familiar with the plot of Moulin Rouge, the year is 1899, and Christian, a young English writer, has come to Paris to follow the Bohemian revolution taking hold of the city's drug and prostitute infested underworld. And nowhere is the thrill of the underworld more alive than at the Moulin Rouge, a night club where the rich and poor men alike come to be entertained by the dancers, but things take a wicked turn for Christian as he starts a deadly love affair with the star courtesan of the club, Satine. But her affections are also coveted by the club's patron: the Duke. A dangerous love triangle ensues as Satine and Christian attempt to fight all odds to stay together but a force that not even love can conquer is taking its toll on Satine. My favourite detail is the subtle use of butterflies to depict the wish for Satine to be free from her manager’s ‘promise’ and free to be with her true love Christian. A lovely detail made even more poignant by her passing and therefore fitting beautifully into the main reason why I use these within my works, symbolising a person’s true spirit being free. I also love the view over Paris, it brings back special memories of spending Christmas with my family in a beautiful apartment that overlooked the city as the Eiffel tower sparkled into life. A true city of contrasts that’s for sure! Spectacular Spectacular, I hope you’ll agree!

This is a surreal interpretation of the brilliant Back To The Future films entitled ‘‘OUTAAIR’. Continuing on from my previous pieces inspired by the legendary franchise and embracing the iconic Delorean time machine what I have done is to create a very different scene that is inspired by one of the most memorable scenes from the first movie, the Enchantment Under The Sea dance that saw Marty’s parents-to-be get together for the first time with a little help from the main man himself.

The Delorean has featured in varying extents within all of my Back To The Future Pieces to date but I have always been keen to show it in it’s flying state. I wanted to create something very different however, to literally place the dance under the sea, why not?! I have created several pieces that are set underwater and have enjoyed the challenge to achieve that effect where the objects truly look like they are surrounded by water, I wanted to create a piece that looked really cool and nostalgic but that had a beautiful and magical quality to it, to ideally open the appeal of the image to a wider audience.

What we see is the moment that the Delorean is rising up from the sea bed and heading up to the surface for air, what happens after this or what kick started it is open to interpretation, I’ve simply set the scene. Key details from the dance are positioned on the ocean floor with the glow of the lights in the distance hinting at a stage, there is a sense of movement from the shifting sands caused by the Delorean, exposing further details. Something that is always key for me is to unify the objects that exist within the scene, so that they aren’t just static, what I feel has worked really well is the introduction of the various sea life that interact with the detail and really add something lovely to the scene, as the classic line reads, this is one for all you lovers out there!

'For me it had to be about capturing the atmosphere and magic within the cave and to show the ‘Inferno’ sailing out towards the open sea and focusing on things that are left behind in the cave. I have amplified the lighting and ambience of the cave opening to represent the ship and ghosts within being set free. Because of the nature of the ship itself and the secrets and mystery that it holds I have gone to town in creating that subtle intensity of the mist as she sets sail.

By creating a point of focus bottom left and just further back it hopefully gives the sense of insignificance that this incredible ship is moving at the back of the scene yet when you really study the Inferno it is pretty powerful. There’s always something lovely about a ship setting out on its’ journey and with the narrative behind this it makes it quite special. Because of the ship’s characteristics I have pushed to create an overall tone and calmness that is reminiscent of an old oil painting to do the ship justice, albeit with areas of
vivid warm tones and light.

Waterfalls were a great feature within the cave from the film itself so I have worked hard to create a series of waterfalls that really add to the sense of beauty within the cave and how they break the calm waters. The deep waters of the cave showcase things that lurk beneath, a deleted scene from the film featured a giant octopus and I have introduced one that is draped over an old oak barrel from the ship. Because the film is a classic adventure plot with kids as the lead having a huge ship, waterfalls and a whopper of an octopus play on that sense of wonder.

As this piece is set further away I wanted to focus more on the ambience of the piece rather than try and cover too much surface with film references however I did want to bring some key objects in so I created a rock in the foreground that breaks the surface and sits a number of key references from the film which have a magical quality to them, almost like pieces left behind.

I absolutely loved this film as a kid and still do, it is such a great film! For this piece I have tried to not try and go too conceptual, instead just set a scene that people can easily associate to the film and characters.

Basically we see the Ghostbusters HQ at the point where the business is done for and they’ve stopped trying to help the city that they love. As with the film, the good that they they were trying to do was a battle against those who didn’t believe, who wanted to shut them down so it has reached the point where enough is enough and they’ve caught their last ghost. They put their lives on the line from the start and this is the result, their attitude has turned to hate towards those who have brought them to this point so they are ready to undo all the good work that they’ve done, basically bollocks to NYC, have your ghosts back, deal with it yourselves, we’re out.

So my piece shows the impact of that, showing key objects from their work littered about the building in a state of neglect, the wonderfully iconic ECTO 1 sits partly obscured behind a wall, done this way to look almost insignificant despite it’s stature. Computers sit smashed, filing cabinets with drawers flung open, hints of a quick departure are there through the subtle signs of a welders torch left on, just enough time to open the trap and unleash the ghosts back into the city.

The ghosts themselves are represented by beautifully lit details that interact with key elements within the scene, in complete contrast to the evil that lurks from within the basement and that is spilling outwards up the stairs. I always remember the vivid colours from the Proton Packs and the ghosts so I wanted to embrace that through use of these colours throughout the piece that contrast against the sombre mood of the scene itself. The walls show feint signs of faded murals that add to the history and intrigue of the building, and the light spilling into the room as with other pieces represents hope and the possibility that maybe all is not lost.

For me the piece is a different yet clearly recognisable take on an absolute classic film that embraces the fact that the featured ghosts weren’t actually that scary, apart from the odd one, or two!

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.

Is there a more epic and celebrated music festival than Glastonbury? Personally, nothing comes anywhere near it and that’s coming from someone who’s never managed to get a bloody ticket for the damned thing! The history of the festival is fascinating, set within the iconic Worthy Farm amongst the Somerset hills and under the watch of Glastonbury Tor. The music, entertainment and people are as diverse as what Mother Nature serves up each year.

For those who follow my work you will know that music is a catalyst and always the backdrop for my artworks, inspiring a concept, adding fuel to the fire of emotion that drives it or twisting lyrics to amplify what I am conveying. Art is everything, music is everything, they are how I bleed and how ultimately, I heal. It acts as a crutch, a comfort blanket, a shot of adrenaline.

A song can position you, to take you back to a time when things were great or not so great. For me, large parts of Glastonbury remind me when things were incredibly dark and challenging, times that I have fought to move clear from. For that weekend, watching hours and hours of the festival was a chance to escape and I loved every minute of it and was always gutted when it was over.

So many will have their own favourite memories from those who owned the stage, Metallica in 2014 was just stunning for a metal fan to see them smash it. Radiohead’s set in 1997 was beautiful, Paolo Nutini’s ‘Iron Sky’ lives long in the memory whilst the brilliant Foals set kickstarted my love for another great band who I wasn’t aware of before the festival. It’s always great to see the controversy surrounding some of the headliners and then watching them confirm why they deserve a place on the pyramid – all hail Stormzy!

In 2019 I set about planning how I could celebrate Glastonbury turning 50, to see it then cancelled due to the Covid-19 pandemic was gutting whilst naturally completely appropriate. I continued regardless and what you now see is an image that showcases each and every one of the headliners since T-Rex kicked things off in 1970. Music brings people together; Glastonbury brings people together and my piece ‘GLASTO!’ brings artists together for one hell of a session!

The iconic Ribbon Tower and Pyramid stage sit in front of the silhouetted hills as the sun sets or rises depending on how you see it. I wanted to capture the energy and passion as they perform together whilst also conveying that wonderful sense of calm after overdoing it. A fire is the centre piece to bring people together and to reminisce, the magical details that radiate out from the flames and fill the scene signify this as the fuel for stirring and reigniting memories, some to keep close, others to set free.

I hope you love this piece as much as I have loved creating it and I hope that it pulls at your heart strings, whilst doing justice to the phenomenal work by Michael and Emily Eavis. Nothing can stand up to the live festival but I’m pretty confident ‘GLASTO!’ can give you hours of entertainment trying to tick off all of the hidden headline acts. So, grab a drink and your wellies and enjoy the spirit of Glastonbury, I predict a riot!

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

I have said so many times just how instrumental and influential music is to my art, art that is a reflection and a response to my life and it’s experiences. The past year has seen me create pieces such as ‘Mad For It’, a 90’s inspired ‘brit-pop’ image and ‘Glasto!, a celebration of 50 years of headliners at the Glastonbury music festival. I love how the power of music can transport you back so easily to a period or a moment in your life and hold you there until you decide to turn ‘auto repeat’ off – something that expands over several days for me when I’m in that mindset to create a piece of art.

I’m one of those people who genuinely has a really diverse taste in music that includes bands that you are proud to know because you know the majority have never heard of, and yet are cursed with the ability to completely forget all of these when asked ‘so what music are you into’ and just blurt out the generics! For those who follow my social media posts you will know that the majority of my videos have often obscure tracks playing in the background. You know when you have a really good one when it is so left field (close to being a pun!) that the powers that be don’t delete your video and scald you!

Music is always on in the studio, currently it’s ‘Some Kind Of Peace’ by ‘Olafur Arnalds’ because I’m waffling through these narratives that need to go to print ahead of the collection release and I’m absolutely bloody knackered. Three more to go and a few cups of tea later and it will be on to spraying more original works so by that time it will have probably switched up to the likes of ‘Slipknot, ‘Chevelle’ and ‘Metallica’. Anyway! Let’s talk about this piece, ‘Ghetto Supastars’ and leave the darker stuff for another day, another piece.

Some great memories of my love for ‘hip hop’ and rap music as a teenager include asking my grandparents for ‘Cypress Hill’s’ ’Black Sunday’ for Christmas and hearing my mum trying to explain it to them over the phone. It was the thought of them going into ‘HMV’, or ‘Our Price’ (remember that?!) and asking for it that always drew a smile. Another was handing my Dad a tape to put on in the car on the way back home and watching his disgust build as I cringed in the back seat – the tape was ‘Death Certificate’ by ‘Ice Cube!

The 1990s’ and early 2000’s were brilliant for hip-hop and rap music, way too many to list here but the most iconic are all hidden within this piece, the perfect ‘lockdown’ boredom beater! ‘Ghetto Supastars’ is set on a gritty American basketball court in the inner city and literally littered with cracking details synonymous with the ‘baller’ lifestyle, some blatant, others more subtle and linked to song titles. Speaking of which can you work out what song the title is inspired by? I chose to add people into this piece and have done in a poignant way to pay homage to three true icons that have passed. ‘Tupac’, ‘Biggie Smalls’ and ‘Lisa (Left Eye) Lopez. The subtle dove and angel wing detailing adds something really special to this piece that has been created to just be bloody cool.

I hope you love seeking out all of the details within this piece, I loved creating it and it’s different which is a good thing for both artist and collector. I’ll be honest, I switched to ‘Black Sunday’ at the start of paragraph 5. Playing ‘Cypress Hill’ just got me thinking back to listening to the album on family holidays in Menorca, and how we would love to be back there right now eh. The power of music and the power of memories. So, bollocks to NAS, Hip Hop ain’t dead mate!