Mark Davies

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.

To say I have quite a few collectors who are avid James Bond fans is an understatement! So here you go, it’s ‘Dressed to Kill’ and I hope that it leaves you both shaken AND stirred!

I like to mix things up, and that is not just subject matter but also on the style of my work. Art with meaning without a doubt and some are so intensely driven by multi layered narratives, complex concepts, and hidden messaging. However, sometimes it is great to simply go crazy on impact and technical aspects to create a piece that can simply be enjoyed and embraced for its subject matter, and this is what I have done here! 

In 2023 I set about planning what would go into my Spring / Summer collection for 2024 and a James Bond London scene was pencilled in from the start. I am so proud of my work to date on Britain’s favourite secret agent and the mix of imagery, from subtle scenes that showcase the interaction between machine and landscape through to pieces laden with movie props that take an eternity to seek out.

My initial thinking for this piece was to make it more London than Bond and that would have been successful and that has not been dismissed. However, as this collection evolved, it became clear that it has an intense quality and genuine depth (and darkness) to it and for me, I always strive to curate a body of work that works beautifully as one as well as individually. So, the decision was to create something with genuine class and have big impact yet be subtle and pulled back, not to be overcrowded. Therefore, the role of London would become a beautiful backdrop on the horizon rather than dominating.

I investigated iconic scenes from our capital that featured within the movies and toyed with the idea of using the MI6 building as the base. However, what you see here is the splendid architecture of Somerset House that creates the structure for the scene, with a combination of Bond’s headquarters and the Houses of Parliament and the stunning dome of St Pauls. Somerset House is perfect as was featured in both ‘Goldeneye’ and ‘Tomorrow Never Dies’ and it allowed me to overlay some subtle details for you lot to seek out, some are so subtle I struggle to remember what they are, so if you don’t know then the chances are that we are in the same boat! I have managed to get every Bond movie poster overlaid with the background of the scene so good luck with that!

As dramatic and varied as the movies are, the overriding quality is class, utter class, be it through the Aston Martin or the evening wear. I set about creating a piece that resonated style and one that could simply be enjoyed as the very best of Bond. So, the emphasis was switched from a complex narrative to one of technical precision where I challenged myself to produce an incredibly complicated image by means of the production aspect to create a unified quality rather than a mishmash of characters that you often see. It had to look believable.

There are many examples of pieces that features the iconic Bonds over the years, each with their own style and done with varying degrees of success. Each to their own and all. My goal was to take the 6 James Bond characters (I wasn’t fussed with the other one that barely anyone can remember his name) and get them in front of you. For those who have followed my work for a while will no doubt know that I love any opportunity to get an iconic car into the scene and this was always on the list. Is there a more iconic and beautiful car? Everyone has their favourite Bond and car, for me personally it was Connery and the DB5 as it brings me back to my childhood. The earlier films are the ones that always resonate with me. I’ll be honest, I am still to find time to watch the latest movie and am still crushed from someone telling me that he dies! Who knew?!

As an artist I feel that you need to challenge yourself, to keep building and showing progression in your ability. It was incredibly satisfying to create something that was so technically difficult and to see how it sits in print. I can’t wait to hear what my collectors think to ‘Dressed to Kill’, hopefully this is the ultimate piece for the true James Bond fan. I’ll drink to that, although I’ll take a Malibu over a Martini!

I have wanted to do ‘Breakfast at Tiffany’s for an age. With each movie collection I always strive to create a piece that is pretty and beautiful to contrast with others that are much more dramatic and intense visually. With the 50th anniversary of the movie falling this year it was the perfect opportunity. What you see is very different for me, which is a good thing. There has been a move towards the introduction of characters when the piece warrants it and rather than seeing a scene that is absolutely littered with detail I wanted to make it all about the character, Holly. 

I wanted to portray her as she was, rather than how she wasn’t as it suits my work and is authentic to my way of thinking. Without a genuine connection or reason there is always a risk of the image becoming hollow. The details that do exist help to tell the narrative but in a much more simplistic way that results in a much more powerful and poignant image. It’s called ‘Free Spirit’ based on Holly’s wish to not be caged but being told she puts herself in her own cage. It is her wish to be set free, she is such a complex character, high maintenance, but adorable and innocent. This sense of being trapped and needing to be set free is a concept that has ran through my work since day one, an emotion that is driven through personal emotions and one that resonates with so many.

This is a classic example of how, when planning this piece you end up doing something so completely different to what you thought you would do all that time ago, and I love that. It is that pull that takes hold, resonates and takes you off on a much more honest direction. What you see is everything laid out around her, the open bird cage with the dove rising upwards that is really beautiful. In contrast you have the blackened thorns and withering roses that are twisting around the cage and the foot of her stool. It’s a very dark element that builds on the concept of needing to be set free from the negatives and darkness and it is this detail against such an iconic image that makes it mine and authentic. It is all about freedom and restriction. The piece features butterflies and birds that represent freedom and transition, expression and the ability to spread one’s wings. I absolutely love her expression, so innocent, confident yet fragile. There is a personal connection to this film that makes it authentic.

Audrey Hepburn was born in Ixelles - Belgium, my Grandmother, Mary was born in Ypres and met my Grandad, Geoff whilst he was a soldier in the second World War as he came into her Parent’s cake shop. After the war, my Mother, Anne-Marie was born in Ypres before they headed to England to start a new life which, given the circumstances must have been daunting and challenging to say the least. My wonderful Grandma was heavily restricted in her later years and my Mother has been incredibly restricted due to my Dad’s condition - so what this piece symbolises is absolutely massive.

I first introduced ‘Lunatics and Legends’ in 2020 as an exciting alternative to my intense, narrative-driven scene pieces. A much more blatant, ‘in your face’ abstract style of mixed media work that was all about the texture and embraced my blurred ‘push and pull’ method of creating a digital image. I had used the style long before this for much more niche subjects, so it was great to go to town on big superheroes and twisted villains. Despite these pieces not relying on a multi-layered narrative to solve what you see, there is still that element to them where the lines between who is the hero and who is the villain are as blurred as parts of the image itself.   

So, for something new and another pun, I’ve been keeping my cards close to my chest recently, teasing you lot on what I had ready to reveal. Well, it’s time to show my hand, I am proud to introduce the playing card editions!

So, what do you think? Suit you?!

I first introduced ‘Lunatics and Legends’ in 2020 as an exciting alternative to my intense, narrative-driven scene pieces. A much more blatant, ‘in your face’ abstract style of mixed media work that was all about the texture and embraced my blurred ‘push and pull’ method of creating a digital image. I had used the style long before this for much more niche subjects, so it was great to go to town on big superheroes and twisted villains. Despite these pieces not relying on a multi-layered narrative to solve what you see, there is still that element to them where the lines between who is the hero and who is the villain are as blurred as parts of the image itself.   

So, for something new and another pun, I’ve been keeping my cards close to my chest recently, teasing you lot on what I had ready to reveal. Well, it’s time to show my hand, I am proud to introduce the playing card editions!

So, what do you think? Suit you?!

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!  

My interpretation of the much loved Dumbo! The concept of this piece is to embrace the emotion that radiates from the lead character that interacts with another - so in this case it shows the unbreakable bond between the elephant and the stork that originally delivered the little man to his mother. The stork sees only perfection when looking at Dumbo, where others only see opportunities to exploit and to mock. The scene shows a forlorn Dumbo sat in a battered and ageing circus train carriage unwilling to come out, evidence of those that have contributed to his lack of confidence and self worth is all around him. A circus monkey stares at a crow holding a cigar (a reference to the original animated film) whilst a tiny mouse stares up towards Dumbo to try and get his attention whilst he is surrounded by other crows.

The contrast between dark and light, good and bad is played out through references such as the contrasting black and white feathers that are dotted around the carriage. The aim was to create a random but beautiful image that displays this connection and sense of pride yet one that still has a dark side that burns. Scrawled messages and a burning ringmaster’s whip that sits next to a piece of wood featuring the ‘greed breeds monsters’ message that I have used as an overriding concept in numerous pieces and points the finger at those that exploit for personal gain. Further evidence of the darkness is shown by the knives that protrude from the carriage wall, making you think whether the knife thrower is simply sharpening their act or has darker intentions. There are clear references to the story of Jumbo, the African elephant that inspired the film, sticky buns and cracking posters are a nod a non-fictional event that was full of controversy and uncertainty yet focused on a deep bond between two characters.

Ok, so the 2020 ‘Retrospective 2’ collection featured a dedicated movie piece, ‘Midnight at the mall’ which was my take on the brilliant ‘Gremlins’! Given that my ‘Retrospective’ collections are typically in November and timed to be perfect for Christmas presents, I like to get a film in there as movies and Christmas just go together, regardless of the decade. This year I have gone for a concept that focuses in the main on the brilliant ‘BIG’ that starred the equally brilliant Tom Hanks. It is one that has been on my list to look at for an age as it is one that I remember renting from ‘Video Venture’ as a kid.

The main narrative of the film being the wish of a boy to become older and effectively fast forward what would typically be his formulative years is one that really shone to me. ‘Retrospective’ represents the importance of looking back to special memories to inspire you to look forward, to be brighter, happier and more positive, even if only for a moment but that moment is enough to make a difference, or even just to influence a decision. For me personally, I am looking back to my childhood more and more in recent years as it makes me even more appreciative of how great and special things were, it helps. I would give anything to relive parts of it, physically I can’t of course but my art gives me that opportunity to relive it emotionally. So, the idea of a kid wanting to fast forward to adulthood seems so wrong. Yes, I know it’s only a bloody film, so this is where the secondary narrative comes in!

In addition to celebrating a key moment of the movie, there is a positive message to ‘dream BIG’, to open your eyes and imagination and live for the moment, to be a kid. To be inspired through the joy of playing, really playing. Tablets and gadgets dull down the wonder of using imagination to fuel dreams, childhood is where dreams are born. So, what I show in this vivid scene is how the toys that we play with as a kid can become the tools of our careers when the time comes. You’ll see the iconic red and gold BMX and on the opposing side is the stunning red Ferrari. Have you spotted which movie that is from? Ok ignore who’s driving it, that is just showing how I become so consumed in the piece when creating it and those random ideas pop in when you are in that mindset, the big kid remains! I’m not one to list out every reference and reason as I love how you all enjoy seeking those out and trying to fathom what the hell I was thinking!

Going back to the movie itself, one angle was to feature the amazing department store ‘FAO Schwartz’ as I always loved the scene when they dance on the big light-up piano. However, I felt that this could encroach on the 2019 ‘The Memory Remains 2’ toy shop piece that so many love and now own. The store and the piano have both been referenced within this scene, one more obvious than the other! Like I said, ‘BIG’ is a great movie and Hanks plays the role superbly, the narrative is amazing and the toys that feature are just brilliant. I love how so many of them are so different to what we typically remember playing with. But you know me, you know I love the darkness (not the catsuit wearing lot!) and this exists big time (no pun intended) with the character that when he speaks, things happen… ZOLTAR! The deserted boardwalk at night with just the solitary, crappy looking fortune teller machine was an image that always stuck in my head. Would I have had the balls to go over and make my wish? I’d like to think I would but not sure! You?

So, this scene that you now see is dominated by ‘ZOLTAR’, to recreate the cabinet took an age but was really satisfying to see the end result play out just as I had hoped. Those bloody eyes! I’m not sure if it has anything to do with us all being scared shitless by a rumoured ‘dog with red eyes’ that roamed the spinney at the top of our court as kids but when Zoltar’s eyes shone red, there was something there. Powerful! That part of the film was shot brilliantly! The closed and battered shutters of the snack kiosks behind lend themselves to the huge amount of detail that is all blended together giving it a graffiti quality without committing the crime as I know it can cause offence. Oh, hang on, one popped out, sorry buddy! I love the funfair at night set behind the solitude of the boardwalk. It serves as a contrast on how so much activity and crowds can exist so close to a point in time when you find yourself alone in that moment. Shut out all that is going on around you, ignore the freaky green guy toasting mallow and just focus, make your wish!

I would love to think that this piece appeals to more than just those who loved the movie and attracts people to what it stands for. As for Zoltar, I reckon I could go toe to toe with him now, actually, does he have toes? Maybe he could be sat like the newsreaders do, all dolled up in his gear but naff all below. But does he have toes? Do ghosts have teeth? Ok, it’s late and I need to get out of the studio as there’s way too much glass and it’s pitch black. Are there two red dots through the window? Were they taillights in the carpark, I’m sure they were, surely not, no it can’t be! Not the dog with the….! Can someone come and get me please!

I’m sure I’m not alone with this one, but I bloody loved the A-Team as a kid! Classic Saturday TV memories with the family and I loved and lived every minute of every episode. I have previously created two A-team pieces; ‘Soldiers of Fortune’ was created back in 2016 and sold as an original piece whilst ‘A-Division’ was a commission. The van has featured within pieces such as ‘Petrolheads’ but I have been itching to create an image that can be available as a general release so here it is SUKKAS!

The two pieces previously captured the team’s love for creating intricate and bizarre weapons and vehicles from cabbages and egg boxes, whilst also referencing their previous roles in the US military and I love both pieces. For this image I wanted to do something different, so I planned to move the timeline forward to a period after the characters have moved on.

My favourite character was B.A Baracus, what a nutter! Apart from Pat Butcher, he was the only one capable of carrying off those whopping great big earrings! He was a unit, wasn’t he?! Probably from all that milk he drank, I guess if his hate for milk was like his fear of planes then all he would have been good enough was to play for the 'Owd Reds. Accrington Stanley, who are they? Exactly!

So, I tried to get inside Mr T’s head to see what he would probably do with all his free time and apart from becoming a boxer, (that wouldn’t work would it surely?) I thought he could continue with his love for all things gold and glittery and set up a gold mine out in the middle of nowhere where surely no one could find him, or could they?

A rickety, towering gold mine expands up from the desert that looks to be as sturdy as one of the old A-Team TV sets. Yet just look at the operation that is going on here under the name ‘FOOLS GOLD’ (you see what I did there?). Rail carts stand on their tracks full of gold, it looks like business has come to a grinding halt, is there a mole within the tumbleweed or just a jackal?

Although so much has been left for your interpretation, one thing is clear and that is B.A’s empire is under attack from above as wave after wave of attacks rain down from the sky. But hold on, the classic Corvette is being carried away by the military Chinook, is everyone on the same side here? Is he out on his own, did he cut his ties back then or has his comrades answered his call for one last battle? Blacked out windows leave everything open to your imagination.

A key component of the classic series was the constant over the top drama that played out, how many vehicles were flipped over and blown up by them lobbing sticks of dynamite at any opportunity? Yet did anyone ever not make it out of their flattened or burning jeep? I have paid homage to this by creating a cracking sense of drama and movement to contrast with the static objects laid out in front of you to decipher.

Bigger isn’t always better and that is shown with the role that the iconic A-Team van plays within the scene and its composition. It is such a bloody brilliant vehicle that looks great up close but I have done this within ‘Petrolheads’ and didn’t want to replicate this so, instead it is doing ‘doughnuts’ in the desert, but driven by who?

There have been a few calls to include a ‘big rig’ within a piece and I love what is happening here. I remember the time when they converted a rig to become a battering ram, it just looked immense. So, in true A-Team style I have got the virtual angle grinder and blow torch out and created my own. Look closely and you will spot whose truck this is! I love the end results, it has a ‘Mad Max’ quality to it, now there’s food for thought.

I avoided watching the big screen movie remake as I prefer to keep my memories unspoilt but always enjoy watching old episodes. With the exception of when Leeds used to come out onto the pitch to ‘Eye of the tiger’, I can’t think of many better intros than the theme tune to the A-Team. I only take on a subject if it resonates with me and if I feel that I can bring something different to the subject and most importantly do it justice and I can whole-heartedly say that I have thrown everything at it. It has brought so many special memories back to the surface.

I love it when a plan comes together!

That’s all folks!  

“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

Showcasing my interpretation of the wonderful animated movie ‘UP’. What we see is a heaven-like scene where the balloon house is resting just though the clouds and shows the point where Carl has set out to feel closer to Ellie. At this point we see the childhood sweethearts reunited with Carl sensing that his wife’s spirit is with him, depicted by Ellie right next to her husband albeit as an angel.

Look closely and you will see her magical trail that comes from Paradise Falls from where she has flown to him from. I didn’t want to create something that looked the same as what you see to date but to instead amplify the emotion connected with the couple and to show the two reunited. All of the details that flutter in the sky all depict this sense of being free and the spirit of adventure, from the subtle light details to the butterflies. (The falling white feathers represent those from someone who has passed, finding their way down to a loved one who seeks comfort.

This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?

I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.

There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?

It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.

Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.”

My interpretation of Shakespeare’s classic tale Romeo & Juliet illustrates a scene within a theatre when the curtain has come down but the light remains, the iconic balcony set is still on stage following the final performance. What we then see is the ghost-like figures of Romeo and Juliet reaching towards each other, their hands just about to touch.

As with the narrative the two characters have to rely on secrecy and stolen moments. I have created this to represent the two lovers re-united in death in the hope to achieve a really beautiful and powerful image that is a lovely appreciation of Shakespeare’s story. The stone columns and balustrades are combined with creeping ivy and beautiful bougainvillea as if set on in a villa in Verona, withering roses lay scattered on the stage floor and twisting steps, not just linking to the narrative and portraying love but positioned as if have been thrown onto the stage by the audience who filled the room.

I wanted to the piece to be atmospheric, through using smoke and shadows, subtle tones and detail and dramatic lighting I am really happy with the immersive qualities of the scene.

Thou art translated...

My interpretation of Shakespeare’s famous play ‘A Midsummer Night’s Dream’ is a modern take on the beautiful classic paintings that exist, by creating an intriguing image that touches you and fuels your own imagination. I enjoy presenting a scene full of drama that you would happen to stumble upon when walking through a dense woodland. One that is compact to the point that a few metres either side and you could easily walk by never knowing it existed, or try to retrace your steps to go back to what you are sure you saw but never find, maybe it was all just a dream?

Tall, dense trees that filter light through whilst creating imposing and ever-changing shadows, mist that creeps and winds around them from a previous shower, a forest floor that is so full of life and detail where so many creatures wake when others sleep and the notion that the forest becomes enchanted, a true fairytale. Sat against one of the trees is a jaded Nick Bottom who sits dejected after having his head turned into an donkey by the mischievous Puck during a rehearsal of a play. An act that was designed to scare off the other characters and upset him but failed to achieve what was intended. The queen of the fairies Titania sits alongside Nick with her arms draped around his neck offering comfort and support.

It is such a beautiful image that on first glance can be quite random but when you look closer it portrays so much more and was the catalyst for my narrative that drives this piece. Like with the majority of my work there exists darkness and light, sadness and hope, each side by side and battling for control. This is the case here as I have combined beautiful detail and a piercing light source with subtle tinges of darkness that linger in the shadows and try to encroach on what is good, or vulnerable. Coming into the scene, appearing through the glow is Oberon, the king of the fairies, a beautiful deer wearing a wooden crown has a wonderful dream-like feel, something that you might just happen to see in a glance of an eye or when the light expands and contracts.

A solitary white dove that symbolises protection to a loved one whenever used in my work rests on a branch above which only strengthens Nick’s resolve and fuelling his determination not to be beaten. You might also notice a hare sat on it’s haunches, it’s funny I had always intended to introduce animals to my forest setting and this particular time of day here in the studio sees rabbits and hares come out from the hedgerows and their burrows and sprint about in front of me. It is so good to see as the reflection from the large studio windows allows me to watch largely unseen however they do seem to have an incredible sense of danger and speed of reaction so because of this I have positioned one close to the characters so as to become a look out and alert them at the first sense of trouble.

Through finding comfort and support from those close and in spirit Nick draws from this and rises above Puck, instead of being crushed and defeated by looking like an Ass, he finds the strength to sing! The aim was to create a piece that lived up to the enormity of the play and that embraced all that is wonderful whilst putting my own twist to it and showcasing my own style. I hope I have created not just a powerful image that is authentic to the original narrative but that I have succeeded in expanding on the sense of seeking and finding comfort through those close to you, both physically and in spirit and being able to rise up, gain strength and sing.

This scene focuses on the yellow brick road through the forest and all that hides within its' shadows in contrast to what can be seen in the distance, beyond the rainbow - the Emerald City. The aim was to create a really striking, colourful and ultimately beautiful landscape that resonates the sense of hope that those who seek it out cling to. A magical landscape full of extremes, beautiful poppy fields, mountains and waterfalls where the warm tones of central sun shines brightly and directly onto the brick road, look closely and you will realise that the yellow is coming from the sun that guides and warms you but the bricks are nothing other than ordinary. Is it a case of blinded by the lights? Fools gold? One poignant detail within the serenity of the sky above the Emerald City is a hot air balloon, surely the Wizard isn’t in there and bailing out?

This piece epitomises the contrast and proximity of darkness and light, literally split into two. The road takes many a twist and turn and this particular point sees it framed and flanked by the darkness of the forest where any fears that you might be carrying come to life in the darkened light of the tall trees that are pinned together by a giant spiders web. In line with my Storyteller pieces the characters are not directly shown, instead you can picture these depending on with how you interpret the piece. However the key characters who walk the road are all referenced within the forest some might be a little harder to spot but for those who know how my mind works should find it easier!

What I have strived to create is a piece that on first glance looks beautiful and cute but on a closer inspection you notice that there are darker elements that sit within the shadows, even things that are deemed as positive and beautiful appear to be leaving a trail of darkness in their wake. This is done to convey the obstacles and hindrances that those who set off on their journey for fulfilment and salvation will meet, some blatant dangers, others much more cunning and disguised and ultimately more dangerous. What I personally feel is so lovely is that amongst all of the obstacles and distractions is Toto the dog, sitting there looking right at you and just waiting for you to continue onwards, unwavering loyalty and companionship. There are examples of foul play within the scene, showing that the journey is not going to be easy but ultimately it is a positive piece that is designed to be less whimsical and more real.

The hope is for this piece to portray a sense of determination to succeed and tackle obstacles in your way head on whilst keeping one eye on where you are going, to keep on walking, baby step or full stride it doesn’t matter

This piece explores the character traits of the most destructive and powerful person within the story - the Wicked Witch of the West, a lady so full of rage that is born out of envying neglect that the fires still burn as fiercely as ever but does she still have a heart? Her blood dried up long ago and she knows any tears shed would wound her, possibly even be fatal if the floodgates were allowed to open. What we see of the wicked witch of the west is a woman scorned, an absolute bitch with terrifying powers who holds so much hatred towards her opposing sister that she didn’t shed a single tear when she was flattened, or actually was that just her protecting herself? Is Dorothy simply a scapegoat for something much deeper and older? There is talk of the wicked witch of the west falling foul to her fathers favouritism as a young girl with her sister being the apple of his eye - there continues the green theme again! What actually happened to make her skin literally turn green with envy?

For someone to be that full of hate and hurt they would have lost all sense of context and reasoning way back, she knows not what she does surely? Has her wickedness become a genuine art form for her? Are there any human qualities left under that shell of carbon? Does she still have a soul, a single strand of hope to see her be saved? Or is she too far gone? What this piece will does is take on a similar style and narrative to my 2016 ‘High Ho’ piece where I showed Snow White is a much darker light but where there were signs of innocence, fragility and hope and that is what I have strived to achieve with this piece. I originally planned to create a roomset but chose to focus on the throne to portray a stronger sense of power and dominance, a setting for where plans and spells are formulated, or a place to sit within her shell where she waits and 'bleeds'.

There is a window into the world outside through her crystal ball that rests against her throne, look closely and you will see the same scene as featured in ‘The Long And Winding Road’. The detail within the piece suggests that she is wrestling with her demons whilst retaining what is left of any good, is she too far gone? The decor is an intriguing mix of brutal objects and soft furnishings that glow green and subtle detailing that hints at a personality trapped. The aim was to create a real open-ended piece where certain objects make you question what has already happened possibly, the water? the slipper placed within a box that sat empty for so long? There is definitely more than meets the eye here and again something to consider in general. Just because someone can cause carnage doesn’t always mean that they are any less fragile underneath or vulnerable to further damage, more likely they just need setting free from the spell that has been cast.

This piece was created to complement two others, the Mary Poppins inspired ‘It’s Not Goodbye’ and ‘Hope’ - a Little Mermaid interpretation that was released in the U.S in 2016. The aim with this style of work is to create an image that is bold and iconic and instantly obvious as to who the character is in the picture. The detail and colours used create an intense and positive quality to the silhouette and transforms the typical cold and sterile forms that you see online. I wanted to illustrate the character embarking on a journey, in a positive manner and to relate to the story whilst with the intention of leaving enough open for the viewer to decide where and why they are going.

What we see is Peter soaring up into the London night sky in front of the Houses of Parliament and Big Ben in his bid to be ‘Forever Young’ and leave the darkness behind him. If you look closely you can see that the dark forces that trouble and restrict him exist within the piece. The hope with this piece is that the concept behind it can appeal to many as it represents that want and need that we have to go back to the moment when things were so much easier and to soar over untroubled waters.

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.

Following on from my 2016 piece entitled ‘Marry Me Bitch!’ from Beauty & The Beast I wanted to create something different, albeit using the same powerful colour ways and capture the emotion between the two characters to be in line with this collection.

So using the style you see in this piece I have looked to depict and amplify the passion between the two dancers, to showcase the sense of surrender by Belle in her partner’s arms whilst also capturing the movement of the dance in an abstract fashion. Parts of the image move vertically in comparison to others that move horizontally whilst some are more prominent - it is the balance of creating depth and shape whilst leaving some of the facial detail softer to embrace those who love to imagine that they are Belle, or the Beast maybe!.
 
Without doubt this narrative has a dark side to it and works beautifully against all things good, the detailing within the background depicts this with subtle elements moving out from the shadows towards the characters that interact with the tiny lighting details. My hope for this piece is that I have done this adored image justice and taken it to a different place that embraces what this collection is all about, showcasing the lengths and sacrifices that people will go to for love.

My interpretation of the wonderfully British Paddington Bear! What we see sadly is a heartbreaking image of the little bear down and out, sat in a stairwell looking lonely and lost, desperate for his Aunt Lucy. How could this now be his existence after being surrounded by so much love, intrigue and comfort?

All good things have to come to an end don’t they? Is this self-inflicted or caused by another? You’ll notice his upturned hat that has caught the generosity and pity of strangers on hearing Paddington play a little tune on his trumpet, a gift from Uncle Pastuzo. Is he trying to collect money for Marmalade or simply for the postage for his letter to Aunt? There are subtle details surrounding his case that remind you that he is just a boy, scrawled letters that pour light onto his troubles and frustration.

The lovely quality with this piece is that it is open-ended leaving you to decide on the reasons and also what is in that letter. As with my way of working there is always hope and in this case you can see this shining towards the little man from out of view, look a little harder and there is a subtle detail that might change things completely. My intention along with creating an authentic piece that fans of Paddington will love is to make you think, to consider who the person was and could / should be if given a helping hand towards recovery, one step at a time.

Deliverance is rescue from imprisonment, danger, or evil. This is a very different interpretation of Cinderella based initially on Aschenputtel (Cinderella) written by the Brothers Grimm. It is a much, much darker version - awful in places, even for me! What we all know and love from the Disney version is so far from the reality here it is scary.

This piece is a classic example where I build a secondary narrative into the piece that then takes over and consumes the image, albeit it making it much more beautiful. There is no fairy godmother - instead a pear tree that grew on Cinderella’s dead mothers grave whilst birds flocked together as one to destroy the ugly sisters in a way you would not think possible.

So this piece runs in line with the overriding concept that pushes Cinderella into that coach and that gets her to the ballroom to ultimately be rescued by her Prince yet it represents so much more, to me and hopefully to others who can find affiliation to the concept.

The doves, an incredibly poignant detail throughout my work, come together when one simply isn’t enough in the hope that working together they can make the difference as they desperately try to help the person who has fallen, who sees no way out, before it is too far gone. A beautiful title for a beautiful act, good will win out if the shoe fits, and it does in this case, perfectly.

Love, devotion and determination burn alongside frustration, jealousy and despair within the castle walls. This is beauty and the beast in a very literal sense. Dark forces are at work here, within the shadows, clouding the clear. Count to 10, patience is a virtue they say, ain’t that the truth!

There is so much to draw on from the story, but for me, there was one line from the BFG that kick-started my thinking - where he said he wasn’t a coward. It was the seed for me looking at how the state of mind of the BFG could take a lead role in my interpretation. He is undoubtedly good, he resides amongst all these terrible giants yet has made it his life’s work to catch dreams, filter them and give them to the sleeping children. Look at his relationship with Sophie, really lovely. However what if the lines became blurred?

To those who see him in his cloak, in the shadows, tie him to the disappearance of the town’s children, but he keeps telling himself he is good. Everyone has demons, voices, doubts. What if his naive, child-like nature was infiltrated and overwhelmed by these dark thoughts? It’s just a bad dream isn’t it? You always wake up fine, unaffected, right? They’re just children, it’s just a dream.

In a clear state of mind, when he’s on the job he meticulously filters and sorts the good from the bad, my piece sets out the scene when for reasons only known to him the dream bottles have been mixed up. How can something so beautiful do so much bad? It’s just a dream anyway... will be fine in the morning anyway. Dare to dream?

In my piece the BFG is on the street in the midnight hour with the effects of his work there for all to see, but so are the battles between what he does, or thinks he does, and those that despise and fear him. For example the walls and balcony are daubed with negative and aggressive messaging and often show a reply from the BFG to hit back. Are these from the townsfolk or are these in fact the battles in his head laid out for all to see? His Dream Case is his most personal and treasured possession, the conflict, frustrations and battles spill out onto this too.

The scene puts beauty first, to the front albeit mixed with darkness. Things lay in the shadows, catch your eye and then stay with you, reminiscent of the plot and his mindset maybe? I wanted to create a piece that was brilliantly beautiful, wonderfully dark and ultimately dream-like, to make you think, to take you away into your own place, just as the BFG does.

‘Just let me do good’.

The concept for this piece plays on the fact that sleeping beauty was pricked and fell asleep at 16. Darker versions tell of the prince being obsessed by her and raping her whilst alseep which is pretty bad, not something I would reference but only adds to the intensity of the story. My concept is to portray a scene where a girl became a mother at a young age and subsequently life passed her by, effectively being asleep (there’s a reference to being fine before the little prick!). The baby reference is therefore used without any refernence to anything worse.

Detail within the piece outlines her state of mind and the battle with her demons. The battle between dark and light, good and bad battle it out within her four walls, being the thorns and the roses. The fact that the thorn exists so close to the petal on a rose is perfect and is why I use so frequently as I use it to symbolise the two sides to a person’s character and their personal battles.

She has regressed within her walls and herself, yet there are still subtle touches that depict beauty and serenity, yet so close to how she sees herself (the reason the mirror has been taken down from the wall and defaced). Her scrawls on the walls, bed and mirror are based on lyrics by Arnor Dan (vocalist on ITVs Broadchurch and lead singer of Icelandic band Agent Fresco). The song in particular that inspired me with the concept for this piece is ‘Bemoan’ - it’s incredible and fitting, all about not wanting the bell of age to ring for him - to not be left behind and how his demons are so tall and so many that he cant see the white of walls. The lyrics are special.

My concept here picks up on the Pie Crust promise line that the children use in the story and the inclusion of the carousel horses along with the negative view towards this that was mentioned in the narrative. The original story gives the impression that Mr Banks doesn’t spend too much time with or have too much time for his children whilst his mother is focused on the Suffragettes movement. This means that Mary Poppins takes on the role of their primary carer.

What I have then done is to twist things so that we introduce a gambling addiction for Mr Banks (horses) and the negative impact of this is played out within the nursery. A carousel type horse smashes into the wood floor and dominates the scene, not only does this link to the story where they become detached from the fair ride and bounce all over the bloody place but it adds drama and signifies the impact that this addiction now makes on the family. The horse is actually real yet has been retouched to look like it is not, with cracks forming. This represents how something that started out as playful and fun evolved and grew into something very real and quite dark.

The mothers dedication to the Suffragettes movement is referenced by the white sash that has a line from her song ‘cast off the shackles of yesterday’ - this was chosen as it acts as a call to action to Mr Banks to seek to stop the gambling and cast away his demons from his past. I have then chosen to show the childrens’ frustration towards the family set up by them turning on their Nanny and being vocal (through wall scribbles) that they don’t see or want Mary Poppins as part of their family, they want their parents back. Mary is shown in a good light here, offering guidance through a scrawl on the wall ‘A stitch in time saves nine’ which means if you sort out a problem immediately it may save extra work later.

Ultimately the piece takes small references from the story and manipulates them to depict the negative impact an addiction (gambling and a passion) can have on a young family where the children ultimately lose out. Both parents are aware of the issues but are simply papering over the cracks. The references are subtle and through the darkness within the piece there is ultimately hope, for change. 

With this piece I wanted to focus on creating emotion and feeling within the scene rather than a deep concept. The horse that takes centre stage shows so much emotion and is deep in thought, majestic almost. My aim is to first see the beautiful horse in its’ surroundings and then notice the pole, painted saddle and the cracked skin to reveal signs of a darker past. Now that the horse has broken free it has cast off the shackles of yesterday and embracing the freedom that comes from that.

This is mirrored by the suggested relationship between Mary and Bert which shows a number of references to this and how they have brought what was once hidden into the open for all to see! Objects within the grass that typically shock are made to look beautiful as this is how the two love birds see what they have between each other.

What I have created is a scene based on the original narrative that is set in parkland on a beautiful English Summers’ day with the dome of St Pauls showing over the treetops. A racecourse extends across the composition with riders and horses thundering by. Light as always plays a key role here creating warmth and calm whilst the brighter areas are there to represent hope.

Butterflies flutter around the pole moving upwards, the style of these has been done in a way that relates to the flat colours of those used in the film as contrast to the background. Dandelions fill the grass to enhance the lightness and delicateness of the piece, there are tiny seed details where they are floating upwards. In the background there is Mary Poppins’ carpet bag and the white umbrella that she held within the park / fair scene with subtle hints of magical detail surrounding it. Birds are a key part of the film and I have includes two within the softened background, as well as Berts’ blue bow-tie that rests against Mary’s bag. Nestled within the grass is the signature Matryoshka doll that references my first published collection.

Key characters from the story stand within the long grass, a disgruntled turtle and some penguins, of course! I deliberately left until last as it was a case of how on earth do you introduce such characters into such a beautiful scene without it looking random and stark. So what I have done is create a connection between one of the penguins and the horse where they are fixed on each other. There is subtle dream-like lighting detail and icons that are radiating off the penguin leading upwards to the horse, it creates something really wonderful and more importantly a talking point as to what is going on and why there is such a lovely affiliation.

For me it epitomises what I am conveying through this image, beauty, intrigue, freedom, hope and subtle randomness. The two central penguins are deep in conversation, possibly gossiping about their love-struck friend!

My interpretation of the original Robocop from 1987. This film sticks in my memory from watching it on VHS at my mates house when his dad was out, it was the first film I had seen where it was so brutal and bloody. The scene where Ed-209 was introduced to the boardroom and malfunctioned before spraying bullets stuck with me for ages, it’s still terrifying even now when you picture the sheer terror and realisation the seconds are counting down quicker than you can react to, awful! So when this commission was booked in it was the natural focus for me, same with when I took on Jaws from my current Lost In Hollywood collection I decided to confront my childhood fears and embrace those memories!

The film showcased how the city was being overrun by criminal brutality and how the police force were losing the battle whilst civilians were being overrun by their robotic equivalents. Omnicorp was the huge machine at the centre of it all but were they making masterpieces or monsters? Who was controlling who in the streets that had been promised a silver lining.

It is said that Robocop as a concept was inspired by the futuristic British cop Judge Dredd and you can certainly see this, as a subtle reference to this I have placed Judge Dredds helmet within the scene, something that is designed to confuse but then encourage greater thought. The catchphrase "I'd buy that for a dollar" is based on the catchphrase "would you buy that for a quarter" from a fictional radio show in Cyril M. Kornbluth's short story "The Marching Morons.” I have referenced both the catchphrase and the story by placing a single dollar bill centrally and scrawling a message on the wall from the story that sums up perfectly what I am saying through this piece, it reads 'ARE WE EVOLVING TOWARD BECOMING MARCHING FUCKING MORONS?’ Robocops’ gun and a hand grenade from the film feature also along with empty bullet casings.

I absolutely love Tarantino and this film especially, this along with Pulp Fiction were films that I studied at College so is great to strike it back up again. There are a number of classic scenes from the films but the warehouse torture one sticks with me, largely down to discovering the Steelers Wheel track so I have gone with this as the base for this piece. I wanted to make clear references to the film but put my take on it so it doesn’t look like I have tried to recreate the scene but used the wrong chair for example.

The scene itself is a classic representation of the iconic scene with the solitary wooden chair taking pride of place - for me it had to be as it is a strong graphic in its’ own right. I have combined a mix of obvious links to the film albeit with a different take on the actual object in instances along with really obscure references where the viewer might have to really think what the reason for inclusion is, perfect for those who genuinely love the film.

The buildings’ walls have references to Jack rabbit Slim, Stanley Kubricks’ The Killing, Madonnas’ Like A Virgin, Scrawled question asking who the F*ck killed nice guy eddie and has been sprayed with bullets and blood. The ceiling has beautiful ageing detail, there is also a reference ‘QT The Class of 92’ referencing the release year, Tarantino initials and the dogs themselves whilst also playing on the Manchester football ties as it is such a well used phrase.

The central chair features blood stains, cracking, smouldering textures to represent the horror that it has played its’ part in. Showing signs of a struggle, the chair has been taped up with the silver tape that was used to gag the police officer. A solitary black tie, pair of shades, LAPD badge sit on the cushion. As does a bottle of Mexican tequila - this is a more subtle clue, referencing the police officers’ nationality and the Mexican stand off that exists within the film.

The film plays out the fear that there is a rat on the loose, identified as Mr Orange - the rat trap with glowing orange light that captivates and entices the rat towards is a cool way of embracing this. I wanted to showcase the quality soundtrack from the film as music especially was so key to the particular scene. So there is an old record player/radio branded ‘TARANTINO’ and is surrounded by objects that relate to songs from the soundtrack - Madonna Like A Virgin, a little green bag, a lime in a coconut and tacos, another gun of the same make lays close by.

Finally further embracing Tarantinos’ love of foreshadowing there are subtle areas of smoke coming into the scene that hint at something being out of view, maybe a cigarette or a gun smoking or a fire about to start?

To say I have quite a few collectors who are avid James Bond fans is an understatement! So here you go, it’s ‘Dressed to Kill’ and I hope that it leaves you both shaken AND stirred!

I like to mix things up, and that is not just subject matter but also on the style of my work. Art with meaning without a doubt and some are so intensely driven by multi layered narratives, complex concepts, and hidden messaging. However, sometimes it is great to simply go crazy on impact and technical aspects to create a piece that can simply be enjoyed and embraced for its subject matter, and this is what I have done here!

In 2023 I set about planning what would go into my Spring / Summer collection for 2024 and a James Bond London scene was pencilled in from the start. I am so proud of my work to date on Britain’s favourite secret agent and the mix of imagery, from subtle scenes that showcase the interaction between machine and landscape through to pieces laden with movie props that take an eternity to seek out.

My initial thinking for this piece was to make it more London than Bond and that would have been successful and that has not been dismissed. However, as this collection evolved, it became clear that it has an intense quality and genuine depth (and darkness) to it and for me, I always strive to curate a body of work that works beautifully as one as well as individually. So, the decision was to create something with genuine class and have big impact yet be subtle and pulled back, not to be overcrowded. Therefore, the role of London would become a beautiful backdrop on the horizon rather than dominating.

I investigated iconic scenes from our capital that featured within the movies and toyed with the idea of using the MI6 building as the base. However, what you see here is the splendid architecture of Somerset House that creates the structure for the scene, with a combination of Bond’s headquarters and the Houses of Parliament and the stunning dome of St Pauls. Somerset House is perfect as was featured in both ‘Goldeneye’ and ‘Tomorrow Never Dies’ and it allowed me to overlay some subtle details for you lot to seek out, some are so subtle I struggle to remember what they are, so if you don’t know then the chances are that we are in the same boat! I have managed to get every Bond movie poster overlaid with the background of the scene so good luck with that!

As dramatic and varied as the movies are, the overriding quality is class, utter class, be it through the Aston Martin or the evening wear. I set about creating a piece that resonated style and one that could simply be enjoyed as the very best of Bond. So, the emphasis was switched from a complex narrative to one of technical precision where I challenged myself to produce an incredibly complicated image by means of the production aspect to create a unified quality rather than a mishmash of characters that you often see. It had to look believable.

There are many examples of pieces that features the iconic Bonds over the years, each with their own style and done with varying degrees of success. Each to their own and all. My goal was to take the 6 James Bond characters (I wasn’t fussed with the other one that barely anyone can remember his name) and get them in front of you. For those who have followed my work for a while will no doubt know that I love any opportunity to get an iconic car into the scene and this was always on the list. Is there a more iconic and beautiful car? Everyone has their favourite Bond and car, for me personally it was Connery and the DB5 as it brings me back to my childhood. The earlier films are the ones that always resonate with me. I’ll be honest, I am still to find time to watch the latest movie and am still crushed from someone telling me that he dies! Who knew?!

As an artist I feel that you need to challenge yourself, to keep building and showing progression in your ability. It was incredibly satisfying to create something that was so technically difficult and to see how it sits in print. I can’t wait to hear what my collectors think to ‘Dressed to Kill’, hopefully this is the ultimate piece for the true James Bond fan. I’ll drink to that, although I’ll take a Malibu over a Martini!

This is an example of when you get free reign to do whatever you think is right and are trusted in your judgement! End result was an incredibly happy client!

The original film was truly shocking, made even more so because the lead character was played by a 12 year old girl - Regan MacNeil. In keeping with not showing the main character in my work I have embraced this challenge by focusing the scene on one of Regan’s dolls and giving the characteristics of the possessed child to her doll. I have always found those old porcelain dolls to be creepy and uneasily life-like so it was the perfect route for me to create the shock factor for the piece but one that had genuine meaning and emotion. Some of the scenes from the film involving the girls’ body are horrific and I have not wimped out on approaching this and depicting this within this piece. Ultimately my aim was to create a truly scary character but who is then made more easily confronted through injecting beauty into the scene and suggesting an underlying concept.

I have spent a good amount of time looking at the theories behind the plot and embracing the story lines for the characters in the hope that I would find something subtle that I could base my concept on and the one that struck a chord was the existence of neglect for both the priest Karras and the daughter Regan. Karras blamed tormented himself for neglecting his dying mother, a weakness picked up by Pazuzu the devil who possessed Regan and more importantly how the child herself had been neglected by her actress mother as a result of her work. This is the reason that I have set my piece up in the way that I have, showing a solitary doll sat in the darkness. However as with so much of my work and no matter how harsh and dark a piece may be I will always look to convey a sense of hope through the use of light and I have embraced this within this piece.

The room and more importantly the doll is brought into light from an opening door, primarily to represent the Priest coming to rid Regan of Pazuzu but also as a sign that she is about to be taken out of the darkness and away from neglect, it works in the sense that the mother acknowledges the negative impact of her work and reacts in a positive way for the benefit of both Mother and Daughter. Was Regan such an easy target for the devil because she was so vulnerable through neglect?

My aim here is to suggest this and to open up a much bigger concept where a child can become possessed in so many more ways through being shrouded in darkness and becoming vulnerable to their demons that are born purely from neglect. The scene shows the doll sat on a bed surrounded by objects that relate to the film in various ways, the piece is subtly divided into two, into dark and light. The old wooden bed frame is blackened and shows the sign of the devil burned into the surface which shows signs of cracking and it beginning the burn. Yet this is contrasted with hints of vibrant paint that signifies the happiness that should resonate from within a girls bedroom. The torn Damask wallpaper behind the bed adds to the darkness and ageing characteristics of the room, dated decor again suggesting neglect. Centrally to the bed is a small statue of Jesus nailed to his cross with head turned towards the darkness, a beaten figure, just another fallen hero. The ornate pillows feature an embroidered ‘P’ on the darker side representing Pazuzu whilst shrouded in light is a contrasting ‘R’ for Regan - portraying the girl and the devil within.

The doll that represents Regan shows cuts to her body that relate to those shown in the film, her eyes have a hint of green to further relate whilst her mouth, dress and skin show signs of the vomit that was projected towards Karras in another one of the iconic scenes from the film, made from pea soup and oatmeal apparently! A quote from the film is scrawled onto her skin ‘You Let him f*ck you’, pretty strong stuff. The most shocking part of the film for me was to see the possessed Regan driving a crucifix into her genitalia and I have not shied away from this, it is hard to stomach but this is the Exorcist. The battle between good and evil is played out over the doll with a combination of dark smoke and beautiful lighting detail with the latter working to gloss over the horror that is laid out before you. The dominant light that shines over the doll brings with it hope and goodness and leads towards her heart, good will always triumph over evil.

To the left of the doll as we look at it and where the shadows and darkness rule is an old wooden model of a church that has succumbed to evil, cracked wood, smoke and flames engulf the building and a sign reads ‘F*ck you Damien Karras’. In front of this are a pair of smashed glasses, those of the other Priest - Father Merrin, if you look closely you will see a hint of goodness there, with the little icons that are attracted to the glasses in the darkness. A solitary dove feather sits on the stained bed sheets in the gloom of the shadows yet there still exists light and hope surrounding it. To the right of the doll is the bible and rosary beads that burn, an upturned candlestick portraying something that should bring light and security yet with a single gesture can turn into a destructive force.

Finally, a single rose - Regan loved her mother so much, making clay animals for her and giving her a rose at each breakfast time yet suffered neglect and hurt. All in all a very challenging subject and a great commission and brief, I am happy that I have gone for it full on without just settling to shock but to make you think and to acknowledge that all hope is not lost.

This shows my interpretation of a story that has gripped me ever since I first read the Susan Hill novel in school, The Woman In Black. A genuine family favourite of mine as I remember watching the 1983 film with my brothers way back as kids one night before Christmas and the book didn’t prepare me for what was to come, genuinely terrifying and real, no silly effects or big actors, just images that still make me go cold to this day. It was the power of the figure on the marshes that was the most gripping, the sense of isolation and truly being haunted by someone with so much subtle anger. I own one of the original video cassettes of the film and have made countless friends sit down and watch it in the pitch black, patio doors open and all, it was the first film that my partner and I watched together, obsessed?

I’ve also been lucky enough to watch the play adaptation at the Fortune Theatre twice and absolutely loved everything about the venue and the play so the chance to create my own interpretation and tell my story is incredible. The intention has always been to create a scene that was beautiful, serene and calm yet that showed details that pulled on the heart strings, that were full of sorrow and sadness and that would make you think a little deeper. I wanted to compose a piece that did just the same as the original did, to inject a small detail that turned the image on it’s head, that detail being the unforgettable silhouetted figure of Jennet Drablow dressed in her funeral attire. The thought of creating something dramatic and over the top didn’t interest me, it just wouldn’t be right for this subject.

There is one point where on the marshes Arthur Kipp knows that something terrifying is there and spins to reveal the silhouette, I wanted to create that factor where you are focused on the beautiful detail, you know something is there but try to avoid looking because you desperately don’t want to see her. The impact that Jennet had on all those who saw her was brutal and most often terminal but it is another case of not being born bad, it shows what we assume to be a normal woman who’s life is turned upside down through bearing a child out of wedlock and then losing him twice. We see hatred born towards her sister Alice who took her son from her and who couldn’t save him from the sinking mud and rising tide of the Nine Lives Causeway committing Jennet to a world of hatred and inflicted insanity. Is blood truly thicker than water?

It really is a story of the unforgiven - Jennet for having a child out of wedlock and Alice for being blamed for taking her son and not saving him. Details within the scene show the relationship between Jennet and her son, Nathaniel, an ageing teddy, a wooden train (links to how Arthur travelled to Criffin Gifford), poignant images that showed so much more before she faded to black. As with so much of my work I have created the piece to leave a lot to interpretation rather than dictating, you might look at it and think that you are looking at the point in time within the original narrative however if you look a little deeper you will notice the ruined Eel Marsh House, a broken rocking chair (I had to do that as that damned thing terrified me!) that suggest that time has moved by and the shifting tides have withdrawn to reveal objects previously hidden.

Yet Jennet remains, destined to stand there alone. It is such a terrifying story line, how could it not be when children are lost in horrific circumstances throughout, yet personally the subsequent remakes of the film seem to make it hard to find any apathy towards the woman in black because of how hyped up every detail was. My hope is that I manage to make people think, to consider the events that took a woman, a mother and made a monster. "They have asked for my story. I have told it. Enough.”

My interpretation of the incredibly iconic The Godfather that focuses on the fictional character Don Vito Corleone. I have continued to build on the style where I create the character out of smoke but with this one I have looked at achieving maximum impact and clarity of the detail by overlaying onto a solid background with no film references included, so a different treatment to my 2016 BALBOA but still using the the same elements to ensure consistency.

There are only very subtle abstract markings on the background to add drama and small pockets of explosive movement, for example if you look around the rose and jacket the red markings could either symbolise passion which the Don unquestionably has by the bucket load or could symbolise the immediate impact of a gunshot wound within a life where families are never unscathed by grief and tragedy. The smoke not only creates a really interesting and different aesthetic quality to the piece but it relates to the cigar smoking Mafia boss so well and you could imagine those smoke-filled rooms where he delivered so many of his iconic lines.

This piece was particularly challenging as portraiture was an area that I always avoided but I feel that I have done the legend justice and this treatment offers something different again whilst continuing to build on my style of work that creates the opportunity to in time build a series of side on iconic portraits.

“Now I wanna dance, I wanna win. I want that trophy, so dance good…”

I have chosen to depict part of the renowned routine that played out at the JackRabbit Slim’s dance contest with Mia Wallace and Vincent Vega. You see a lot of silhouettes of this routine online but never with any emotion, drama or movement so I have set about with the intention of doing just that with this.

I have taken the elements that exist within ‘BALBOA’ and ‘Moonwalker’ to create a follow on piece that complements and contrasts. The background from the film at this point is one of blues and blacks with neon flashes, I have chosen to build the characters around a rich red and black backdrop to instead be a nod to the darkness and bloodshed from Tarantinos masterpiece.

The neon elements are depicted in abstract form with the coloured markings that interact with the characters, a cool addition without being a distraction. These tones are further reflected within areas of the two figures that are a further abstract method of bringing colour into what was a monotone outfit for both Mia and Vega.

Complex smoke is used to make up the bodies and is the base for intense detail that portray movement, light and drama. Abstract markings are used to break up and link parts of the composition whilst parts highlight point of interest, for example the white vertical lines depict the light that catches Vegas cuffs whilst on a darker note also subtly reference cocaine that lines Mias nose.

The tiny icons that hover around the characters are a mix of beauty and blackness, these interact with both and symbolise the inner good and the contrasting dark circles that both operate within. Ultimately I wanted to do something a little different to the norm whilst continuing to build on this style of my work and most importantly do justice to a genuine masterpiece of film.

I have fond memories as a child of the beautifully illustrated books by British novelist Kenneth Grahame and the classic film that evokes vivid images of past Christmases with my family. The characters were just so quirky and great and the whimsical English riverbank scenes were the perfect backdrop, along with the contrasting darkness of the weasels and the wild wood.

It's funny, as I sit here and write this narrative to accompany this piece there is a beautiful weeping willow tree and it’s flipping windy! The only thing is it’s mid-February so there are bugger all leaves on it but there are the small signs of buds forming. I love it when I see these as I love when Winter turns to Spring, something that I use a lot in my work as a concept. The only downside of seeing these little green lumps is that it also shouts to me that I have to soon start on the preparation for the next collection later in the year!

Way back in 2015, there was a commissioned piece on The Wind in the Willows entitled ‘Appetite for Destruction’ – no, the Guns and Roses belter wasn’t part of the soundtrack, imagine that! Basically, my interpretation of the stories back then was a surreal one, and a dark one at that. It focused on the self-destruction of my favourite character, Toad! I loved his eccentricity and chaos. That piece is one to seek out as it plays out the point where Toad Hall is in flames and burning and all that remains is his cherished sports car that sits beneath a beautiful willow tree. Details that surround the car suggest a dark scenario, it’s beautiful and dark.

However, despite fighting the urge to inject darkness whilst creating ‘Wanderlust’, I am so pleased with what you now see. The aim was to create a truly beautiful and serene piece that would sit perfectly with ‘Keep Me in Your Heart’, my earlier ‘Winnie The Pooh’ piece that captured the imagination of so many. It’s great to really mix things up as an artist and my ‘Wolves, Wonderment and Wanderlust’ represents exactly that. I love switching from a quirky retro inspired piece to a really dark and intense scene and then dropping something like this that is just utterly beautiful and light.

There is so much potential to create many pieces based on the The Wind in the Willows, the Wild Wood appeals and I will tackle that, but ‘Fight or Flight’ takes that spot in this collection as it is set within a dark forest. Next time, next chapter. I love the river; I hate rowing boats! Well, that was born from being petrified as a kid on a boating lake in Ypres – Belgium and I don’t think I’ve been in one since, a swan pedalo doesn’t count right? I set about basing this piece on the river, not only because I knew that it would become a wonderful image, but I like to test myself and working with water and the reflections is a challenge to get it right. Especially when you have little points of reference to guide you when you choose to have a goggle wearing toad and smiling mole frolicking (that’s a great word isn’t it!) in the water.

Wanderlust represents a strong desire to travel, so I thought it a fitting title for what you see before you. I have built on that and evolved it to become the desire to be free also, in whatever form that happens to be. I love to connect with my collectors in many ways and this image is a classic example of one that can simply be enjoyed as a beautiful and happy image, whilst also representing a secondary meaning. Whereas my earlier commissioned piece was more obscure, ‘Wanderlust’ is true to the sentiment of the story. Don’t you just love seeing how proud old Badger looks as he sits on the boat looking out at his companions. It’s the tiny details that I inject that transform what could be quite a sterile element and make it magical and full of emotion.

I hope that I have done this fascinating classic justice in my approach, whilst also hoping to have captured the hearts of those who see much more. Look closely at the detail and you’ll see the subtle butterflies and dandelions that float upwards and towards the sun. It’s that sense of being free that I hope will resonate and bring comfort to many. That can be on many levels but ultimately it is a call to let yourself go, to travel, have fun and be free, however you choose.

So, grab your bathers and let’s go boatin’! Actually, I’ll just watch from the riverbank with a beer, you’ll find me under the balding willow tree!

Welcome inside my mind, strange isn’t it! Many of you won’t know that this is the third piece that I have done on this classic story and film. The first two pieces were created as commissioned works back in 2015 when I first created my ‘Storyteller’ body of work. ‘Charlie’ and ‘Sink or Swim’ were obscure, narrative driven and dark, darker that one of Wonka’s bars of chocolate lodged in Augustus’ deep crevasses and folds! Really?! Sorry, like I said, welcome inside my mind!

‘Wolves, Wonderment and Wanderlust’ is a truly balanced boutique ‘Storyteller’ collection, it is dark, light, and downright bizarre, guess which one this falls under. The brilliant story writing (not by me!) lends itself to falling into all three but I have wanted to create a quirky and bizarre piece on this classic for an age so now was the perfect opportunity! As with my ‘Wind in the Willows’ piece, there is a vast number of opportunities to create a whole range of pieces on this masterpiece, but I must save some room for later! (You get it right?!)

As a kid, I remember the Roald Dahl books well and I will without doubt do a collection purely on his genius storytelling. Without a doubt though, the film that starred the amazing Gene Wilder is what stirs up my fondest memories, it just has everything! You know how I love to show the proximity of darkness and light and how they are interwoven, and the film does that and more. I just love it. The settings within the factory are iconic as well as the much more recent version that starred the brilliant Johnny Depp. It was crucial that my version didn’t end up being influenced by either of those, that would have been lazy and too easy. So, what you see is a glimpse inside my mind, my imagination. I hope you like it.

‘We are the Dreamers of Dreams’ takes the ‘Wonderment’ spot from this collection. The aim was to create that open mouthed reaction if you were to walk into the cavernous opening within the factory. Just don’t keep your mouth open too long, way too many parrots and toucans up there! There’s a lot to take in eh! The intensity of the backdrop is nuts, and that’s before you even notice the paddle steamer! There’s no earthly way of knowing which direction that’s going! Well, it’s heading into a tunnel but what lays in wait? That’s where you come in, I’ll pass the wheel to you.

The serene chocolate river is a contrast to the powerful waterfall that cascades downwards. That detail was introduced from my love of challenging myself technically. ‘Hey You Guuuys’ (Goonies) was a much earlier piece that featured magical waterfalls within a cave and I was waiting for a new opportunity, so here we are. This piece is a classic example of how I set off on a journey creating the scene but without being too concise and pre-planned. I wanted it to evolve, to go off on random deviations as my imagination opens up. I guess that is what makes artists different to another, it’s how your mind works that makes the piece authentic and true.

I wanted to inject an industrial quality but with a cute and colourful approach so that is why the pipes that transport god knows what are shaped as plastic bendy drinking straws. The ‘steam punk’ inspired paddle steamer is like no other. I didn’t want to use something like the films as like I said before, too easy, and if you have read my ‘Wanderlust’ narrative you’ll know why! The control rooms that are set within the rock walls are inspired by Gaudi’s architecture – drawing from a past art trip to Barcelona in my college days. Memories stick don’t they, it’s great to be able to bring this into my work in such a different way than I maybe planned back then.

Like I mentioned before, I love the dark element to the films, how it flips from light to dark without warning. I love the morals that are conveyed in the storytelling and especially the greed element. Since 2016, I have used the line ‘Greed Breeds Monsters’ in my work and it sits perfectly here. Greed really does breed Wonkas! If you hold that thought and seek out an element within the scene it can help to position what you are seeing. My lips are sealed shut, as if holding a handful of everlasting gobstoppers in my, well, gob!

So why the flamingo? Why not! My 2021 ‘Open Door’ piece was an earlier example of me opening my imagination and showing my random way of thinking. Is it the same one? Maybe, why not? They run for miles yet look like they skip leg day. Joking aside, I really do hope that I have done this justice, I know I am proud of it but when you are referencing such brilliance in storytelling there is quite some pressure there. I share an un-wanted affiliation with the battles that Gene Wilder faced, and I would love to think that my work would capture his sparkle and raise a smile if he could see. Rest in peace Gene. X We are the music makers, and we are the dreamers of dreams, life is way too fucking short, it really is.

We really don’t know what the future holds so embrace now, think bigger, dream bigger, be brighter, act with integrity and be authentic. Be a bit more Wonka!

Welcome inside my mind, strange isn’t it! Many of you won’t know that this is the third piece that I have done on this classic story and film. The first two pieces were created as commissioned works back in 2015 when I first created my ‘Storyteller’ body of work. ‘Charlie’ and ‘Sink or Swim’ were obscure, narrative driven and dark, darker that one of Wonka’s bars of chocolate lodged in Augustus’ deep crevasses and folds! Really?! Sorry, like I said, welcome inside my mind!

‘Wolves, Wonderment and Wanderlust’ is a truly balanced boutique ‘Storyteller’ collection, it is dark, light, and downright bizarre, guess which one this falls under. The brilliant story writing (not by me!) lends itself to falling into all three but I have wanted to create a quirky and bizarre piece on this classic for an age so now was the perfect opportunity! As with my ‘Wind in the Willows’ piece, there is a vast number of opportunities to create a whole range of pieces on this masterpiece, but I must save some room for later! (You get it right?!)

As a kid, I remember the Roald Dahl books well and I will without doubt do a collection purely on his genius storytelling. Without a doubt though, the film that starred the amazing Gene Wilder is what stirs up my fondest memories, it just has everything! You know how I love to show the proximity of darkness and light and how they are interwoven, and the film does that and more. I just love it. The settings within the factory are iconic as well as the much more recent version that starred the brilliant Johnny Depp. It was crucial that my version didn’t end up being influenced by either of those, that would have been lazy and too easy. So, what you see is a glimpse inside my mind, my imagination. I hope you like it.

‘We are the Dreamers of Dreams’ takes the ‘Wonderment’ spot from this collection. The aim was to create that open mouthed reaction if you were to walk into the cavernous opening within the factory. Just don’t keep your mouth open too long, way too many parrots and toucans up there! There’s a lot to take in eh! The intensity of the backdrop is nuts, and that’s before you even notice the paddle steamer! There’s no earthly way of knowing which direction that’s going! Well, it’s heading into a tunnel but what lays in wait? That’s where you come in, I’ll pass the wheel to you.

The serene chocolate river is a contrast to the powerful waterfall that cascades downwards. That detail was introduced from my love of challenging myself technically. ‘Hey You Guuuys’ (Goonies) was a much earlier piece that featured magical waterfalls within a cave and I was waiting for a new opportunity, so here we are. This piece is a classic example of how I set off on a journey creating the scene but without being too concise and pre-planned. I wanted it to evolve, to go off on random deviations as my imagination opens up. I guess that is what makes artists different to another, it’s how your mind works that makes the piece authentic and true.

I wanted to inject an industrial quality but with a cute and colourful approach so that is why the pipes that transport god knows what are shaped as plastic bendy drinking straws. The ‘steam punk’ inspired paddle steamer is like no other. I didn’t want to use something like the films as like I said before, too easy, and if you have read my ‘Wanderlust’ narrative you’ll know why! The control rooms that are set within the rock walls are inspired by Gaudi’s architecture – drawing from a past art trip to Barcelona in my college days. Memories stick don’t they, it’s great to be able to bring this into my work in such a different way than I maybe planned back then.

Like I mentioned before, I love the dark element to the films, how it flips from light to dark without warning. I love the morals that are conveyed in the storytelling and especially the greed element. Since 2016, I have used the line ‘Greed Breeds Monsters’ in my work and it sits perfectly here. Greed really does breed Wonkas! If you hold that thought and seek out an element within the scene it can help to position what you are seeing. My lips are sealed shut, as if holding a handful of everlasting gobstoppers in my, well, gob!

So why the flamingo? Why not! My 2021 ‘Open Door’ piece was an earlier example of me opening my imagination and showing my random way of thinking. Is it the same one? Maybe, why not? They run for miles yet look like they skip leg day. Joking aside, I really do hope that I have done this justice, I know I am proud of it but when you are referencing such brilliance in storytelling there is quite some pressure there. I share an un-wanted affiliation with the battles that Gene Wilder faced, and I would love to think that my work would capture his sparkle and raise a smile if he could see. Rest in peace Gene. X

We are the music makers, and we are the dreamers of dreams, life is way too fucking short, it really is. We really don’t know what the future holds so embrace now, think bigger, dream bigger, be brighter, act with integrity and be authentic. Be a bit more Wonka!

‘BALBOA’ was my first piece where I work with smoke detail to create a silhouetted character and I am so pleased by the results. Rather than the static and stark silhouettes that are typical I have strived to inject movement and depth into mine through using the smoke textures. I love how it flows, expanding and contracting to take the shape of the body.

The image of Rocky is so incredibly iconic and exists in so many variants, so I was keen on going at this in a different way. Through using the smoke-like textures to create the body it gives off this wonderful ghost-like quality that is perfect for my ‘Lost In Hollywood’ series where we consider the characters from the film that are left behind once the filming stops and the lights go out.

The USA flag has been depicted within the body through the red, white, and blue and the stars whilst hints of the cityscape form the background. I wanted to do something that was gritty where the smoke represents the downtown Philadelphia element whilst in contrast the stars and lighting signify the bright lights of the arena and the fame that Rocky found.