Mark Davies

Way back in 2016 and as part of my ‘Lost in Hollywood’ collection, I created a Batman inspired image ‘KAPOW!’ that was an original only piece. It was a quirky and vibrant take on the period prior to the narrative turning seriously dark. So, there has been plans for an age to produce something that people will link to the darker side of Gotham. I have created some incredibly powerful pieces that focus on the mindset of the Joker, but I wanted to conceive an image that was more driven by Batman.

Is ‘The Dark Knight’ one of the most influential movies of all time? Quite possibly! The acting by both Christian Bale and Heath Ledger is nothing short of a masterclass. So, the decision was an easy one, this image was to be inspired by Christopher Nolan’s epic movie. However, I was adamant that I didn’t want my image to end up looking like one of the amazing backdrops that ran with the promotion of the film back in 2008. It could have easily happened, what with my love for all things that burn!

So, even though I set about focused on Batman, the influence of the Joker cannot be overlooked, so he features albeit pulled back and walking away from you, but his impact is catastrophic and claustrophobic. The composition of the piece has been created to depict two opposites, chaos and order, darkness and light, evil and good. A showman versus a silent protector, a dark knight. The choice to show the Joker with back turned was influenced by the recent success of my ‘Storyteller’ piece ‘Fight or Flight’ that also featured a figure with back turned, walking away – it is so much more powerful in my opinion.

I appreciate that the fan base of this movie especially are true ‘die-hards’ and not only did I want to respect that but I wanted to not risk playing safe. The introduction of the characters is exciting, but the image is strong enough not to rely on them. I love them, it takes the piece to a new height but then look past them and there is so much detail to seek out as well as some obscure references to really test you! You know how big a deal music is to me and the influence it has on my work, having the soundtrack on throughout without a doubt drove me to inject so much more into what you see. However, there are other references that are music related and I won’t spoil it for those who want to try and decipher everything.

‘Chaos and Order’ is a shining example of how the lines are blurred between my ‘Storyteller’ works and ‘Lost in Hollywood’, it has qualities of both. I guess that is natural because of how my mind works, I am a storyteller, and you know what? I absolutely bloody love it! It is another example of when you stop, sit back and admire the work that you have created. A moment of calm after the intensity of creating the piece. The weight from the pressure of hope and expectation sits heavily but that is a good thing. It comes from the support of all of you, you drive me on… you complete me ;)

I will be honest, I’m a bit of a big girls’ blouse when it comes to blood and guts in movies, I used to look away when watching ‘Casualty’ on TV as a kid, embarrassing eh! Luckily, it seems that the earlier films were a bit easier to stomach, the effects were not as brutal as what they are now so I could just about deal with it, proper ‘gangsta’ me!

Just like the ‘Godfather’ movies, I knew so much about ‘Scarface’ but had never actually watched it in full. So, when I came to finally getting down to watching the movie, cushion at the ready, I had to do more research than normal as I needed to really understand the narrative. So, when I kept seeing ‘chainsaw scene’ pop up on web pages, I started to feel a twitch! The initial plan was to release this piece purely in my ’VHS’ format and for it to be driven by the 1980s Miami setting, yet even at the initial research stage and before even watching the film, there was something that really struck me with Tony Montana’s office. The scale of the lamps, the colours, the backdrop – there was something that kept making me go back to it.

However, despite getting that buzz knowing that something special could come from this, I sat down and watched the film and the ‘Pacino’ masterclass. What a movie, a shining example of how greed really does breed monsters. I loved it, absolutely loved it and my mind was well and truly made up on the chosen direction for this piece. I instead chose to lead with a full scene image that was set within Tony’s office and mimic the composition from my 2021 ‘Godfather’ piece ‘Vendetta’ that took you inside ‘Don Corleone’s’ office and right in front of the main man himself. Powerful. So, what you now see is Montana sat at his desk, looking to his right slightly. The ideal scenario would be that collectors who had ‘Vendetta’ could then hang ‘The World Is Yours’ adjacent to it so that Tony is half looking towards the Don, a subtle nod of respect.

The end result is one that I feel so bloody excited about, the impact is dramatic, whilst the sense of accomplishment is right up there, as I pieced the office together from scratch as I did with ‘Vendetta’. I love a challenge and even more when that seed grows and manifests into something really special. There are so many cracking references for you to seek out, have you spotted that the interior fabric of his open briefcase matches that iconic tropical red shirt that he wore in the film? Study this piece whilst listening to ‘Tony’s theme from the movie soundtrack and it is so powerful. So, you can simply enjoy as a cracking tribute to the film or for those that have an obsession over it, I have added some really subtle links.

Like I have said before, I spend so much time researching, looking into fan theories as well as professional interpretations and movie trivia. I was particularly drawn to the use of violet throughout the film, it features heavily and is suggested that it is due to the fact that the colour represents death. I made sure to bring this into my piece and centre mainly behind Montana. Now it links to the other key element, the blackened bird that has flown in through the open doors and is rising up behind him whilst his back is turned. As with ‘Vendetta’ and the ‘Godfather’ movie where the use of oranges was often placed to suggest death is close by, the Raven is representing how his enemies are rising up behind him, none more so than we saw in the epic final scene where he goes down in a ‘Yeyo’ fuelled blaze of glory by being picked off by ‘The Skull’.

So, for a ‘late starter’ I hope I have done this incredible movie justice as I know how people really love the film. The great thing is that the key element from the piece has translated so well into the VHS format as an alternative option for lovers of those smaller collectible artworks. Say hello to my little friend!

I do love my cars! When ‘Petrolheads’ was first released back in 2018, I had no idea that it would quickly become so popular, but I am so bloody happy that it is so well loved. It was a piece that I had wanted to do for years, it was all about timing and conceiving a scenario that could be the most engaging and ultimately successful, to create the ultimate movie car piece, no holds barred! From the reaction since, I think I achieved that!   

At the point of planning there were so many iconic vehicles that could have gone in with equal success, even with being selective. I wanted this piece to hit you right between the eyes, to stimulate your senses and therefore I had to find the balance between being a visual feast and being too cluttered where the impact was compromised.

As with the majority of my work you don’t get to see the lead characters, it is the setting and the detail that tells the story and with this piece it opens up the question - who are driving these machines? Could it be all the movie characters have met up within the desert to watch a cracking car movie, hanging out around the fire, eating corn dogs, listening to Guns & Roses and a dirty V8? Or is it simply a group of enthusiasts doing just that? Over to you.

A lot has happened since the print edition was first released, there has been a sequel and a James Bond edition to add to collectors’ walls. In addition to creating nostalgic driven (excuse the pun) art, I have really focused on delivering exciting and engaging new formats to showcase my work. One of those has been the incredibly popular and versatile VHS edition. It has been so successful because of its uniqueness, it’s compact size and the level of hand embellishing that all come together to create something truly special to display in a tight space or as part of a number of them together.

So, given the fact that the very reason for so many of these iconic movie cars and their characters to have gathered deep within the desert was to watch a film on the big screen, it just made perfect sense to turn it into a movie, of sorts! So late into 2022, ‘Petrolheads the Movie’ gets its big release on the small screen! As well as a cracking image, the level of detail to enjoy is superb, it’s the small touches that come together to give it a real aged quality, frayed edges, a scratched and scuffed VHS cover, a crumpled sticker from the video rental shop that seems to have been defaced! So grab a Coors and a corn dog and prepare to blow a gasket at Petrolheads the Movie!

Special Edition!

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

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

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

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

How great were the summer holidays as kids back in the day? 6 weeks of playing with your mates, not glued to a screen but properly playing, making the most of all the time you had before getting called in for tea and then doing it all again the next day. If you were raised on the Magic Roundabout, Grange Hill and Button Moon, on only 3 TV channels, if you made go-karts with pram wheels, recorded the top 40 on a tape, drank from the tap, rode around playing cops and robbers on your Chopper or Grifter then you will get what this piece is all about! ‘Skool’s Out!’ epitomizes all of our great memories from being set free to roam in the holidays, it has such a cracking feel-good quality to it and features an array of nostalgic toys, some blatant, others that you had forgotten about but know someone who had one. What absolutely great bloody memories, join me in looking back to look forward!

Beware, wolves lurk in every guise.

‘Fight or Flight’ is my third interpretation of the intensely dark tale of Little Red Riding Hood, and it is one that is as authentic as possible. Art with meaning, it is how I speak, how I scream, how I bleed. Do you see this as a truly dark piece, or much, much lighter? I’m genuinely really interested to hear your interpretation. Everyone’s minds and stories are different.

The scene is set deep within a forest, and further on than what was shown back in 2015 and my ‘Red Light Spells Danger’ piece. I have taken a bold step to introduce the cloaked figure with the single intention that it truly transforms the emotion that this piece of art exonerates. By being shown from behind, I hope it resonates with many, many people. The moment I placed the figure (I refrain from saying ‘her’ for the reason I just mentioned) it genuinely brought tears to my eyes. I know why I created this piece and that moment when the impact of the image and its narrative just hits you right in-between the eyes.

You see someone who is on a path, a journey, a moment when they walk on, approached by, and flanked by wolves. Each wolf represents another challenge, another beast that needs to be tamed, if not killed. Look closely, a wolf is literally on their back, I did say look closely! Now look at the cloak, look at the sheer depth and richness of that red. With that saturation comes shadows and there lies the problem. Light and dark, very dark.

Blackened, twisting thorns are interwoven with red roses and drive their way through the forest floor. Darkness resides to light in such a way that it can trip you up, the most painful falls are the unexpected ones. Sweetest tongue, sharpest tooth.

Rose petals from their cloak leave a trail of love and kindness reinforcing that the figure is good, wonderfully good yet who’s feet grow tired with the weight of the wolf on their back. Not every beast can be killed, sometimes it is just the acceptance that it can’t ever truly be slain but it can at least be tamed through the act of love, loving oneself. Keeping one’s wolves at bay can be enough to help you on your path.

A truly beautiful and pivotal detail within this scene is what exists beyond the figure, a clearing, a brief respite. What exists even before that is crucial. A beautiful white deer stands fixated and offers that much-needed guidance. Look upwards, the all-seeing owl offers wisdom in decision making. All hope is not lost. It never will be.

A copse can over time turn into a forest, those trees grow taller, denser, and harder to navigate between. The roots if fed, grow deeper and thicker and turn what was a thin trunk into something much stronger that creates darker shadows. Branches grow outwards and mask the light, to the point that it becomes harder to see the light of day and you become lost, lost in a forest of denial. If left unattended, what was once easily managed becomes so gnarled and claustrophobic that all hope can become lost and the brightest of sunlight is unable to penetrate through. Forests have clearings that offer respite and space to breathe, space to think before you’re back amongst the thick of it but stronger, taller.

Everyone is different, everyone’s reasons for becoming lost are different. We all choose different paths, we deviate off them, we are pushed and kicked off them but with guidance we can, and always must find our way back to our path. That path may then look very different to how it looked when our footsteps were lighter and shadows smaller, or when more walked with us, but it is our path. Keep your head up so that you can see the signs and your eyes open to acknowledge the dangers. How far in do you go before you admit and accept that you are lost? Do you choose a longer way out but it’s your way or do you accept guidance from others? There’s never any shame in that, sometimes the forest is just too dense and dark and you’re tired. With tiredness comes weakness and that leaves you open to attack from the wolves, either those that surround you, those that hide and hunt in packs or from the wolf within. Which has the sharpest tooth?

But please, no matter how dense the forest is that you walk within, remember that every forest comes to an end, and in its place, space to see, space to breathe and with it, the first steps on your path. You hold the axe, make your mark, small, sustained cuts initially or a single blow. This applies to how you enter, and how you leave your forest. The strongest trees can fall. X

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

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

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.

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

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

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

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

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

I have wanted to take on Star Wars for an age as I loved the earlier films as a kid growing up. This piece focuses on Yoda within the misty swamps of Dagobah.

As with BALBOA it is an evolution of the silhouetted pieces that I have created to date, even more intense and facial features are brought out through the smoke shapes. I have strived to embrace the translucency and glows from the film within this style and showcase the lighting details that I work with around the sabre.

The dark side is also represented as an opposing detail with black saturated equivalent floating detail coming out from the shadows and towards the light in places. Every single element is individually layered and the count is 1,977 to coincide with the year of release.

Hans Christian Andersen’s The Little Mermaid is depicted through a wonderfully vibrant and enchanting digital narrative that is soured by a darker undercurrent that ultimately prevails, leading to sadness, heartbreak and a waste of life. This is a tale of unreciprocated love between the beauty of the sea and man both as Hans intended but also where our negative impact on the sea comes out from the shadows, referencing the likes of war and the draining of the earths’ resources. What becomes of the broken hearted? Time will tell...

I am so proud that my 2022 piece entitled ‘Love Knows No Bounds’ received the levels of affection that it did. Whilst we are surrounded by such poor taste, I was determined to create a beautiful tribute to acknowledge the truly sad passing of our Queen.

A signature trait of my work is to create an image with a multi-layered narrative, one where you can simply enjoy it at face value or think a little deeper and look a little closer to discover a stronger meaning that, regardless of its driving force, is always open to your interpretation.

This shone so brightly with the aforementioned piece. It’s majestic. The concept of love knowing no bounds (something that I have built a body of work on since 2017) radiates from that image what with the various details that all link to their individual relationships with Her Late Majesty.

Everyone finds their connection with art for their own reason, and I love that, but with ‘Love Knows No Bounds’ there was a little detail, or should I say a little bear that is mentioned more than any other, Paddington. As a nation, our love for the little man is special and has remained in our hearts since childhood – it’s impossible not to love him.

As a Storyteller there is always a new chapter to be written and ‘A Letter to Her Majesty’ is mine.

The overriding concept was to explore the impact on those that are left behind to grieve after someone so special has passed. However, through being driven by a sense of hope by seeking comfort and support through others who are close by, it is the love and positivity that drives this piece. At first glance and on noticing the tiny details, sadness will hold you for that moment but then look a little longer and the warmth radiates just like the sun shines through the forest past Windsor castle.

In 2017 and as part of my ‘Love Knows No Bounds’ collection I created a beautiful piece entitled ‘A Letter to Aunt Lucy’ – an image of Paddington sat forlorn with his letter that he didn’t get the chance to send it to his dear Aunt before she passed. My original intention for this new piece was to continue this concept, however despite the image turning out beautifully – it was a little too sad, it lacked what was needed, hope.

I have embraced the connection between two people, or animals in this case. To shine a light on the positive impact that being close to another can have. Just look at that touch of the Corgis’ paw on Paddington’s arm. Subtle, not showy or elaborate – just honest and real. Look closely – have you seen both have a solitary tear falling down their face? Beautiful. Yet, it is a case of strength in numbers. Some are closer, physically, and emotionally but never discard the role of another who may be stood a little further away – their love remains the same, but their character varies – so they watch from a distance, but their guidance can be significant.

I am often asked how I set about planning a new piece and it’s a great question. It really does depend on the art itself and its reason. So, for certain pieces that need to either start a series or become a continuation of an existing one, the approach is completely different. Planning, positioning, tactics are all key. Yet for pieces such as what you see here, no. The seed is born from the heart and is grown and driven by genuine, real emotion. It is art with meaning, and it always will be, authenticity in its most beautiful form. It is through channelling all this that makes the result so full of impact and honesty and why it connects so strongly.

‘A Letter to her Majesty’ is as much about a letter from Paddington as one from myself. Like I said, the concept evolved – why? Because of where my head and heart are. I am an artist who is a son who has lost their beloved Father in September 2022. I am 45-year-old man who prides himself on his strength of character, yet I have been smashed to pieces, completely and utterly broken. At the time of writing this, it is a matter of weeks short of a year and with how freely the tears flow from just typing the word ‘Father’, it is a blatant reminder that I am struggling to deal with such an unbearable, claustrophobic sense of loss.

I have written so many chapters where my words have reached out to others to try and help, to find strength, comfort, and direction and now I need to do the same for myself. I accept and understand why I am where I am at this stage. I know I am strong enough to deal with it in time, just not now. For years I have grafted to set myself up with things that would help distract and help, not heal but help. I don’t mean materials; I mean the things that combine to create a sense of calm and that help lift you. I am so lucky to have a wonderful family so close to me that I know will continue to make a difference.

The words that I penned as Paddington are from my heart and that is why the ink runs. Does that make the boy in the blue coat me? No, Paddington is everyone who has ever lost someone and who still has so much to say and who are jealous of the angels that sit around their loved one’s thrones tonight.

It is almost ten years ago since I embarked on this art journey and right from the start, I have made it clear that art for me is everything, it is how I bleed but ultimately how I heal. It is my escape and my outlet for my emotions. The entire time there has been absolute heartache and battles outside of the studio and it is my art and my collectors that have formed such an incredible distraction that I will be eternally grateful for, you are like no other. Thank you for everything. x

I felt compelled to create this piece as a fitting tribute to Her Majesty the Queen on learning of her passing. Not because I claim to be a die-hard ‘Royalist’ but because of the incredible connection that she had with so many people, for the majority it is all we have ever known. She was a truly remarkable woman and will be greatly missed and forever adored.

I, like so many others find a connection because of our grandmothers, mine – ‘Mary’ was a similar age when she passed and was a remarkable lady. I pride myself on creating art with meaning, and with ‘Love Knows No Bounds’ I feel that this is proudly personified.

What we see can be interpreted how you choose, the scene can either represent Her Majesty returning home in spirit or at a point in her lifetime. It really is how you choose to view the scene and what brings you most comfort.

I have strived to show the strength of connection and love between one another, be that her beloved Corgis, her majestic horses, and that wonderful little bear that we all love. There is also that sense of connection with Windsor and her love for all things that flower. A winding path cuts through the most beautiful of wild meadows as it twists towards the most amazing light behind the castle.

What I am so pleased with is how, whilst creating this piece, I learned how a beautiful shard of yellow and pink light shone down on Her Majesty’s coffin during the procession. That just makes what I have created even more perfect. For those who follow my work, you will know that I use butterflies regularly to represent being set free, whilst the sight of a white dove flying upwards towards another with wings open is something that I hope will connect with so many for many a different reason.

I felt an enormous pressure whilst creating what you now see because I am aware of the importance of doing Her Majesty justice and I am so proud of the results. I hope that this piece can be shared and enjoyed by so many and that it brings you much needed comfort, and joy. X

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

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

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

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

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.

‘The Open Door’ is my interpretation of the adventures of Alice in her wonderland. It’s driven by mental health. I will always do my research into each subject and that is what resonated with me with the links to the mental health side to the original story. The insecurities that Alice faced, being scared of adults etc. That was the driving force behind this piece. Everyone is touched by mental health in so many different ways and with so many different outcomes and contributing factors.

For me what is so interesting is what do you see when you stand there looking into that scene? Do you see an enchanted forest with the light trying to push through the fog or are you actually under water? Are they reeds and weeds with the jelly fish etc.? What I’ve done is try to trick you because I didn’t just want this to become a ‘Tim Burton’ type piece, there are parallels to my work and that’s why I love his films. The Jelly fish are there instead of toadstools, you can see the similarities with their shape but for me it was the idea of them swaying, with everything moving. That’s the idea when you’re in that state of mind and things are so intense and almost giddy, everything starts to sway, it becomes too much, a bit surreal. Or you can just look at it like you’re off your head! How do you interpret it?

Everything is littered out around you, the pressures that you face that will help you fall down. Like the drink, the oversized macaroon, they’re all symbolic. The mirror links to my ‘Snow White’ piece from this collection. It’s what you see looking back at you. ‘You’re too small’, ‘I’m too big’, ‘I’m mad’. It’s these things that you’re either told or tell yourself. Another link with that piece is that my concept with the ‘Queen of Hearts’ is actually Alice, that it’s a split personality. It’s her darkness that is trying to push her back down that rabbit hole and keep her there. It’s just me trying to put my take on it.

The door being central is key, the door to reality. It just shows how close that is to wherever you are and however far down you are. It’s how easy it is to fall back down. Amongst all of the darkness there is this lovely detail like the butterflies that I use so much to represent being free that are coming out from the shadows and rising up. There is so much to seek out and interpret, what does this picture mean to you?

I’ve loved creating this piece, it’s the widest scene that I’ve done and that’s for a reason. If you imagine when you are stood there, as I put you in the position of every ‘Storyteller’ piece, it’s how much you can take in that is in your line of vision. The key message is no matter how far down you are, how far gone you think you are; this sense of hope and help is always there, and nothing is ever truly impassable.

I always look for a hook within the original narrative that captures my imagination and where there is a particular character that I feel empathy and interest with. Studying Bram Stoker’s plot it was Mina, John Hawker’s fiancée that I chose to base this piece on.

She was bitten by Dracula and pursued by ‘the three sisters’, Dracula's wives with the battle to protect Mina from them and only released from her curse when Dracula was killed. What I have created here is an intense and powerful image of Mina stood looking at something out of view, surrounded by darkness and tiny details depicting Dracula and blood but with an open window of hope in the background.

Her face is abstract, showing 2 sides to her (more on this later) and at the point where her curse is being lifted suggesting that she and those who have fought to save her have won. That in itself is a perfect representation of darkness and light, despair and hope that drives my work yet I do like to conceive a secondary narrative that then makes the piece much more appealing outside of those the fan base for the film itself. I have created another concept for ’the three sisters’ that is more generic, they represent alcohol, nicotine and narcotics - each vampires in themselves as they can suck the life blood out of the individual that they get their fangs into and can only be banished for good when a significant shard of light is shone onto them, in this case hope.

So the character that you see then becomes someone that many more can relate to for so many a reason where they are looking at a female who is stalked by her own Dracula - her demons that she fights daily when the darkness replaces light. Exit light, enter night. The title, which is scrawled onto the wall behind her 'I'll Take My Leave Of You’ is subtle but when seen makes this piece whole-heartedly positive as it shows her determination to beat her curse. Curse itself is a pivotal word here, it suggests that the demons that she battles were not let in by choice but from being cursed, from a life event that inflicted these wounds that struggle to heal. And it is that combined with her determination to win out that generates so much empathy towards the woman within the picture.

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?!

If you go down to the woods today, you’re sure of a big surprise! Just what on earth have you just stumbled upon? When I was planning this body of work I wanted to include some cracking nostalgic pieces that brought back all of those memories from growing up in the 80’s.

‘Doctor Who’ was a must, it sticks in my head from watching with my family. The quirkiness was great but even with the ropey special effects it had a darkness that caused a particular recurring nightmare that I will leave well alone!

I felt that there was a big opportunity to create something really special, something that didn’t appear to have been done to date, a scene loaded with an incredible amount of detail that was truly authentic and that the die-hard fans could embrace. It’s not a subject that you can rush or take on lightly for sure.

The catalyst for ‘Time Lord’ was the huge new chapter with the series that saw the introduction of the first female Doctor played by the talented Jodie Whittaker, an actress who I had the pleasure of meeting through my obsession with the ITV drama ‘Broadchurch’ with the plot truly capturing my imagination and the soundtrack inspiring so many of my works.

I love to inject a subtle narrative within the detail of the scene and this was embraced with the battle of control between the new arrival and the previous Doctor. There are small references to seek out that suggest something is going on, it just depends on how your mind works!

A piece created to enjoy and to interact with, to stir up great memories, to take a trip back in time whilst looking to the future - see what I did there? There is so much to spot and interpret, some obvious, some random, I look forward to hearing your thoughts on what is going on down in the woods.

I absolutely loved working on ‘Time Lord’, and it’s given me the opportunity for closure. Those bloody Cybermen scared the hell out of me as a kid so the saying ‘putting lipstick on a pig’ has been well and truly actioned here, it’s over!

We’re all stories in the end. Just make it a good one, eh?

My interpretation of the classic Robin Hood tales that have been portrayed through some of my favourite books and the big screen. This piece shows my intention for this body of work where we focus on the lead characters and convey a strong emotion through them that expands on my concept for the piece.

In this instance we see two horses taking the lead within the composition, the white horse being Robin Hood and the other Marian. The interaction between them is really beautiful and powerful, symbolising their love for one another, at first it seems playful and innocent until you notice a particular detail, the arrow in her side which changes everything.

The title for this piece suggests that their love is not embraced and their relationship outlawed, stealing a moment within the forest that doesn’t go unnoticed, a risk that they were prepared to take in the name of love. The detailing within the forest conveys this darkened element to the narrative and the brutal nature of the battles that rage around them, it is then up to you to decide Marian’s fate.

This is one that I have been asked so many times over the years if I will be taking on and I am proud to showcase my interpretation of the much-loved ‘The Lion King’.

So here it is! ‘Find Your Way’ perfectly fits within my ‘Love Knows No Bounds’ collection where the primary focus is the bond between the lead characters in the scene, portraying a beautiful and powerful connection that is amplified by the magical detailing that personifies my work. My sole reason for taking on this subject was to showcase the bond between Father and Son and my narrative that drove this piece is a very personal one (have a listen to ‘Fade In / Fade Out’ by Nothing More).

I am sure that many will be drawn to the image for similar reasons which is great to know, yet the aim was also to create a truly beautiful scene that can enjoyed on a number of levels; by doing justice for the fans of ‘The Lion King’ as well as just simply bring able to be enjoyed as a really pretty piece. What we see is the point where the young lion cub sets out tentatively under the proud watch of his Father. The magical details that surround the characters portray this sense of pride and love whilst the inclusion of the butterflies represent the sense of journey as well as freedom and are a poignant detail that is becoming more and more present within my works.

This was a piece that I didn’t want to cram full of details and references but instead focus purely on the reason that the film struck a chord when I first saw it all those years ago, that wonderful bond.

“Through despair and hope, through faith and love”

When setting out on planning my ‘Retrospective’ collection my intention was always to give music a strong presence as it is so often the catalyst that ignites a memory no matter how far down that resides.

I absolutely bloody love music, it has always had and always will have a huge influence in my art. I need music to set me free, to let me bleed. I love how an allegiance to a group can completely dominate the music you listen to, the clothes you wear and the wheels that you ride in on. I love how it becomes so much greater than the sum of it’s parts, how it takes over and becomes a way of life.
‘Quadrophenia’ has long been on the list of films to tackle for me, it was simply about timing.

The cult groups of the Mods and Rockers are so iconic and seeing as though the subject matter has been ‘done to death’ and largely in the same way I wanted to do something a little different.
I won’t profess to belonging to either of the two. I can’t ride a motorbike or a scooter, the closest I came was getting a bone-shaking ‘backy’ over the freshly ploughed fields of Great Barford as a kid and holding on to my mate’s big brothers motorbike as I rode back home on my Peugeot racer bike as he accelerated to the point that my tyres glowed a brighter red than all 4 cheeks. Yet my partner is desperate to own a Vespa so that’s good enough for me.


Research is a big part of the planning and the key detail that kept coming up was the ‘Battle of Brighton’ where the two groups caused havoc. That got me thinking, I focused on the pure passion that both sides had for their own whilst also the dislike they also held for their rivals. As Paula Abdul once told me, opposites attract so that was my hook for this piece.
What we see is the moment where two people, a Mod and a Rocker choose to meet and defy the rules to be together. Whether that be a courting couple or just mates is up to you but I love the sentiment, like a modern take on Romeo and Juliet, possibly. A sweet sacrifice.


This image is all about what you don’t see that makes it so personal. I wanted to create a beautiful piece of art yet one that has an edge to it. I love how the lighting completely changes everything, unifying all of the elements. I love the calmness, the warmth, the sense of a new dawn breaking and a moment cherished. Love will always find a way.  

My art is everything to me, it is how I talk to others and myself. Through the narratives that act as the undertow to specific pieces, it is my outlet to reinforce a message, to shout and to scream and to try to heal and to help. It’s art with meaning and storytelling in its most real and honest form. That brings me onto ‘Lithium’ – the title piece to my Spring / Summer collection for 2023. Art is subjective but this is genuinely beautiful, for what it represents and the good that it can do through affiliation.

My ‘Storyteller’ works are without doubt the most intense from a conceptual complexity level, and I love how they can be interpreted to relate to another person’s experiences. Without doubt, it is the series of chapters based on the classic fairy-tale Snow White that has seen me return the most to continue the story. Yet the more pieces that I create across other subject matters and their characters, it has made me aware of how there is so much synergy between them, and I love that.

So ‘Lithium’ is the following chapter to an earlier piece entitled ‘Mirror Mirror’ where we saw Snow White’s empty glass coffin within the forest. It was showing that point where you either effectively seal your own coffin and choose your own fate through decision making or you allow help in to help you escape your ‘forest’. What I mean by that in reality is that this is no fairy-tale, there is no eureka moment or epiphany – instead it is a brutal journey shrouded in shadows and complete darkness, yet one that can twist and turn towards a beautiful light, one that brings warmth, comfort, and healing.

 A method of depicting this journey is to link it to the changing seasons. It is darkness and light, shadows, and sunlight in its most literal form. This is where my past pieces come into play. Mental health has, and always will be a driving force within my art, I wish it wasn’t but if it helps then I am glad that through affiliation I have built a portfolio of art that can do genuine good. ‘For Now I’m Winter’ and ‘Deliver Us From Evil’ convey the same message and remind ourselves that Spring will follow Winter and that brighter, happier days will come.

A more recent piece ‘Fight or Flight’ is based on ‘Little Red Riding Hood’, but it flows beautifully with ‘Lithium’ through it portraying this ‘journey’ and the battles that lay ahead.It was this piece that made me debate whether Snow White should have her hood up but without a doubt no. The driving force for this piece and its narrative is to open your eyes, to look within. To soul search to find strength and to start to walk forwards. Lift your head up, instil self-worth, hold your damned head up!

 What we see is that point, where she is tentatively walking away from her ‘Winter’ towards her ‘Spring’. Such Winters can, and do last way longer than a few months. Days are shorter, darker, and claustrophobic, there is barely any light. This world becomes normality and there is seemingly no way out or will to fight. Laying amongst the shadows means out of sight and out of mind, no more burden. Here in the darkness, you know yourself. Cold rain drowns your will to fly, you can’t break free until you let it go. Seemingly gone but not forgotten. Never!

Every forest, no matter how dense and dark has its clearing, its way out. ‘Winter’ can leave you frozen in fear, cold as ice to the chance to change. Yet your future is not set in stone, chip away at it, carve a path, baby steps, focus. Hold your head up! Just like in meteorological terms, Spring can take longer to show that it is coming but it always comes. The first snow drops to bloom are the ones with the strongest roots, that rise upwards to catch the first warmth of Spring and with that brings happiness to others, keep growing.

Inner strength, self-worth, self-belief, and trust in others combine to help you on your journey into Spring, to keep building and strengthening to embrace Summer. Of course, even amongst the brightest of sunshine, shadows are cast, and warmth can fade but it is that strength and momentum gained beforehand that will set you up for when the light dwindles. Let others help you, guide you. Some are nearer than you realise, others watch from a distance. For others, the best you can hope for is so far short of what you need but draw strength through their spirit that drives yours. Whilst every day will be different, and obstacles may block your path, one thing that is for certain is that you are never, ever on your own.

So, it’s time to grow in Spring, Winter has passed, yes it will return but not like that. You’re stronger and will continue to find strength. Loved ones will embrace your achievements. Keep walking forwards, hold your head up. Don’t you dare give up! Don’t you fucking dare! x

The plan for my Spring / Summer collection ‘Lithium’ was for it to comprise of a blend of pieces from various bodies of work. My ‘Storyteller’ series is one that I am so incredibly proud of as it is art without compromise, art with meaning and I love how much you have fallen in love with these for close to ten years now.

‘The Power of Love’ is my classic interpretation of the enchanting ‘Beauty and the Beast’ of which I have created two previous pieces. ‘Marry Me Bitch!’ which still makes me laugh when I hear people order it by title, and a ‘Love Knows No Bounds’ piece entitled ‘’We Are Together Now’. It is the perfect story to suit my love for darkness and light and exploring the depths that people go to in the name of love. Roses have been used throughout my work, both digitally and physically and the plan was to focus on this for this third instalment. 

However, the plan initially and for some time before was to create a scene within the ‘Beasts’ rose garden, the potential for beauty is huge and I know how it would look. Yet for me personally at this point in time, I need to really challenge myself, to distract and to hopefully reach new levels through the need to consume myself in my work. So, for this reason alone I opted to keep that idea locked up and instead look to create something that was different from what people may expect.

To achieve this, it was all about composition and introducing a surreal, fantasy-like quality to hopefully provoke a ‘bloody hell I wasn’t expecting that’ reaction. As an artist, you shouldn’t ever rest on your laurels or become formulaic – I hope you can see that I strive to evolve and learn through listening. I think this is why this collection has smashed me to bits through the intensity that I have put in. I need it, you deserve it, so it’s simple. 

‘The Power of Love’ positions you stood on a clifftop looking down at this incredible landscape/seascape (is that even a thing?!) you know what I mean anyway! The composition is done in this way to get you involved as I’m sure you can relate to the concept in some fashion. The initial image that inspired what you now see was showing a rock at a much smaller scale, I saw intrigue in changing this, so it became huge. Ripples then become powerful waves; you see where I’m going with this? The castle and the galleon that would typically dominate are dwarfed by the solid rock that stands strong against the ever-flowing tides and waves that roll and crash into its surface.

This came together so well and without stress, it was exciting and exactly how I wanted it to evolve. Then my attention turned to the sea and the symbolic rose. I strove to create them in a way that they resembled sea creature type objects that rose upwards and broke the surface, almost as a show of force and powerful gesture. There are ones that look withered and faded in contrast to others that shine bright and have risen above the waves. Technically this was tough and I’m glad it was. The end results are so pleasing, and I feel that it really adds to this surreal quality that I have pushed for. What do you think? 

A much earlier artwork entitled ‘My Spirit Will Live On’ featured a face in the rock and I still love hearing how you have only just discovered it. As a child I always remember trying to catch the right angle as we drove past a rock in Menorca where you could see a blatant Red Indian for a split second. Maybe that is where this has all come from? So maybe there are more to find, that links the ‘Storyteller’ and ‘Love Knows No Bounds’ pieces together beautifully. As soon as you see it and see the connection, it changes everything.

The overriding purpose for this piece is to acknowledge the lengths that one goes for love and the power that one’s love for another can hold. This play on scale and perspective acknowledges this. It is so much more than a pretty picture although you are free to simply enjoy it as that, but if I know my collectors, I am pretty sure that you will relate to it for many a reason and I look forward to hearing what it means to you.

I hope you love this artwork and what it conveys and means to you. After all, beauty is in the eye of the beholder.

OH MY GAWD! Who would have thought it, me doing a second ‘Friends’ piece when I used to despise the episodes way back! My narrative from my 2021 ‘I’ll Be There for You’ explained my reasons. It was always bloody on, most often than not when I was stressed as hell and trying to enjoy my dinner, not a candied yam feast either – burnt pasta probably! It’s when you look back with a calmer head on that you realise that yes, it wound you up, but it was a source of normality, if that makes sense.

I loved creating that initial piece and have been blown away by the reaction to it ever since. I always knew that ‘Friends’ has a huge fan base and to know that it hit the spot was so pleasing. I STILL find Monica annoying as hell though! As I always say, it is a case of timing and 2 years on it felt right to create a second piece to complement the first. So, it’s time to ‘Bring on the Yams!’

This time, I take you inside the iconic apartment of Rachel and Monica – the setting for so many hilarious moments. The colours from the first piece were such a big pull for collectors and I didn’t want this new scene to be a jolt so have mirrored those so that they can sit alongside each other if you choose to. It’s that magical, vivid styling that works so well with the utter randomness of the detail.

So, Thanksgiving has come early this year and it looks like it didn’t quite go to plan! Nice one Joey! I guess Turkey AND yams are off the menu this time, oh well at least the chicken got a good feed. Speaking of which, that detail was so difficult to pull off as there isn’t much reference material online of what I wanted to mimic, surprisingly enough! This was one of those moments when at the end of the day, most probably a long Sunday in the studio and people ask what I’ve done today, and you tell them that you’ve spent 12 hours retouching a kangaroo, aardvark, chicken, monkey, and duck! I love it!

Seriously, I bloody love what I do. I love that collectors and fans of ‘Friends’ have taken to my work with such affection and to see the excitement building with each teaser has been great. Any follow up is a tough act to follow and I am really hoping that you love what I have done, to combine this amount of detail is no easy task and I there’s definitely a few extra helpings of nostalgia in this one! I love how it has turned out; I really do! More dish drop moment than mic drop!

I’m not sure Brad Pitt has been upstaged too many times when he’s been a dinner guest but if you look a little closely you will see he might just have been this time! ‘Bring on the Yams’ was created immediately after a challenging piece, further reinforcing the concept of ‘Rainclouds and Rainbows’, it made a big difference. Oh, and here’s a piece of information shoehorned in to allow for me to finish with a line from the franchise. Did you know that ‘Lithium’ comprises of seven artworks. Yes, that’s Seven, SEVEN, SEVEN!!!!!!

So, another all-important follow up to a very successful piece, you know I never shy away from a bit of pressure! This time it is ‘Checking Out’ to complement ‘Smile’, but is it a sequel, or a prequel? You tell me. After all, it is driven by the ever-revolving door of the Asylum and the acknowledgement that one can check out any time they like but can never leave. Did you spot that in ‘Smile’?

The narrative remains, it is just a different point in time. ‘Smile’ explored the contrast between the two Jokers in the room and raised the question as to who is the most dangerous? The one who is burning with rage on the outside, or the one who is oblivious to what burns from within, beneath their happy face? You decide.

That lyric, you must have heard it! The Eagles, ‘Hotel California’ has driven the concept and fits beautifully. The acceptance that mental health is an illness, not a state of mind is everything. The acknowledgement that it is so easy to fall back without professional help and loving support. Details within the scene such as ‘back so soon?’ highlight the digs from those who ring fence, dismiss, pour judgement and scorn on those who suffer, whilst also hinting at the thoughts from those who struggle where they are resigned to their fate and weighed down by their devil on their shoulders.

I have always been open with how the mental health side of the Joker movies has always gripped me much stronger than the other spectacular details. We can relate to it so much more, not that is necessarily a good thing. The complete mutation and utter devastation caused by someone being failed and left to fall is scary and scarily real. Why so serious? Because it bloody needs to be.   

I love the response to ‘Smile’, a ‘Lost in Hollywood’ piece with a ‘Storyteller’ undertow. ‘Checking Out’ has turned out beautifully. One to be enjoyed by fans of the movies and its villains but also a piece of art that has so many subtle details that link to the concept. Look at the interaction of the crows for instance, subtle but shouty.

I have set this scene within the grounds of the asylum, dominated albeit not reliant upon by Heath Ledger’s Joker as it paces towards you, leaving utter carnage in his wake. It is that moment from the movie when he has just blown up the hospital but re-told in my own way. By placing this at the asylum it further supports the narrative, yet is he the most destructive?  Joaquin Phoenix played the Joker spectacularly in my opinion, for reasons mentioned above. He is pictured, calmly sat as it all unfolds, yet what is he plotting? Who holds the key, or the trigger? Who or what is the trigger?

Yet, it is the two other instances of these Jokers that without doubt packs the biggest punch in terms of the mental health undercurrent. A solitary central figure, cast as dancing from the movie, lost in his own world of shit, yet twisted to resemble a conductor as he orchestrates others and his own downfall. Nothing can hurt him anymore; he has nothing else to lose. Cast your eye to the rear shot of Heath stood in front of the steps, head down. Checking in. Again. See hell, seek help.

Where shadows grow so tall, blackening the whitest of walls. Familiar and unfamiliar corridors roamed, desperate to get back to the place they knew before, but they just can’t kill the beast. Others will gather for the feast and stab with their steely knives for sure, that’s a given. Are they all just prisoners there of their own device? Are they hell.

Ok, so before I waffle on, I want to say a special thank you to the commissioning client of the very first ‘The Memory Remains’ that I created way, way back! I won’t mention his name, but he knows who he is and what a brilliant collaborative effort that was and look at the results! I remember being told that releasing the image as a print wouldn’t work, well no more words needed on that one, they say a picture speaks a thousand words.

I am a storyteller; I create visual chapters. Sometimes I conceive an ending, sometimes I leave it open to be continued. Occasionally, when immersed in a particular chapter, you can see an alternative direction which leads to a different ending. Yet, with ‘The Memory Remains’ there was always only one journey with it as a series, excluding ad-hoc special editions or pieces inspired by it.

The first piece crammed so much within a small window, literally. Stood looking across the road you could see the central toy shop with its’ enticing window display, whilst also getting a glimpse at part of a local cinema and an arcade that had recently closed down. I’m not sure if people spotted that and thought of it as a defining point to the piece. What it does it throw things completely as it changes the date from the era that it celebrates to being much more current. The sad reality of the closures of local independents is what is there but you look past that to what you remember when you were younger.

So, effectively you are doing exactly what my ‘Retrospective’ works epitomise, which is looking past the ‘real’ and towards the past and through the power of imagination and that child-like mindset, what you see is something that is so much bigger, brighter and better than it was. Hold onto that, as it is important when explaining each of the pieces within the series.

The first door that you were taken through in ‘The Memory Remains 2’ was the toy shop, and what a shop that turned out to be! How can so many toys be crammed into such a tiny shop frontage? See? So many of the toys from that scene feature within other pieces as I have continued to retell my youth through pictures (and so many of yours given by the reaction!) Everything links, it’s a walk-through of our memories, lovely, eh? ‘

The Memory Remains 3’ took you into an incredible cinema foyer to watch whatever film you choose to remember. Were those characters really there? Was your mind still in overdrive after the Pick N Mix, surely, they weren’t just the point of sale cardboard cut outs. There is such a wonderful link to my ‘Lost in Hollywood’ works with this piece and further reinforcement to the above where every memory is real and related.

So, there was one last door to go through, well before the shutters closed for the last time. The arcade! As the Gok would say, ‘it’s all about the confidence’ and truth be told, as a kid I had very little. So, I would always shy away from stepping up to the arcade machines, instead preferring to watch friends hammer them.

Confidence turns to comfort in another memory of growing up, this time during my time on a middle school French exchange trip when staying with a brilliant guy, who I still speak with today, Salut Cedric! I was incredibly home sick, I won’t lie. I pretended to have a cold to explain the streaming eyes! LOL buddy! Anyway, basically as well as playing table tennis, it was watching Cedric and his friend smashing it at ‘Sonic’ that has always stuck with me as it provided a real sense of comfort and common ground, even though I was shit at it and oblivious to any French insults being hurled about.

‘The Memory Remains 4’ is a true celebration of the wonders of retro gaming and the vibrancy of the arcades. Again, everything is shown to be bigger, brighter and a level up. What we see is a glimpse outside of the building and into Sonics’ world. I have wanted to replicate that iconic game play for so long and I love the end results. There have been so many interpretations of Sonic in the art scene, and each have their own merit, well this is mine and it’s authentic. Like Frank said, I did it my waaaaay.

So, whether you have bought part of this series, or this completes your full collection I want to say a massive thank you to each and every bloody one of you because it has been an absolute fucking blast! All great things come to an end, but the memories will always remain.

That’s all folks!  

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

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

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

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

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

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

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

I loved every single minute of working on this fantastic piece! I loved Gremlins as a kid and that hasn’t changed one bit. A few years back, I created ‘Midnight At The Mall’ which was brilliant from start to finish as it brought back so many great memories – I mean just the tune itself gets your head wobbling about and pulls on your heartstrings!

So, just like with my latest E.T. piece, I have chosen to create this new offering in a different format, and a brand-new one at that! A battered 1984 collector’s edition magazine cover that has been dusted off and framed to enjoy for many years to come. Well, if you follow these 3 rules…
1. Do NOT read after midnight
2. Do NOT get magazine wet
3. Do NOT expose cover to bright light Follow those guidelines and all good! 



To date, I have VHS, Billboard, Vinyl LP, Playing Card, Cassette Tape and Story Book formats, so I thought it was time to introduce another, the magazine cover! Now, I’m not the first to do this, heck no! Yet this just makes sense and is a great link back to my formulative years when I was a graphic designer working on various publications. However, I didn’t want to fall into the trap of simply adding an image behind a masthead and offer a couple of subheadings – I wanted it to have genuine context and a real purpose and look truly authentic. 

The aspiration here was to conceive a magazine for the ‘KIDULT’ residents of Echo Falls, and beyond and position it immediately after the events of the movie, to make it real.

So, what we see is the first edition that follows the town’s chainsaw massacre and shines a bright light onto the one and only ‘Stripe’! There is a nice element to this feature where it raises the question of whether he was born bad or a man-made monster. I love that. You know I love to write a few lines and am a little random at times, I have embraced this within the copywriting on the magazine cover, it’s just pure good fun and makes for a great read! Not only were free 3-D glasses provided back then, but you also got a centrefold pull out poster of the green haired busty beast that is GRETA! Hubba Hubba! That saying hasn’t aged well has it, worse than the Smokeless Ashtray?

Did you know that the set for Gremlins was the same as for Back to the Future? The town hall building is there in both, I love that. I referenced this within ‘Midnight At The Mall’ and I have done again here to further make the magazine authentic. Doc and Marty hit the screens in 1985, whereas Gremlins was 1984, so the film preview spot not only links the two movies but makes perfect sense.

The style of both the original and limited editions allow me to really go for it with the mixed media elements and sees me laying down abstract paint detail as well as anything else that is within arm’s reach at the time! It’s perfect as it epitomises the chaos of the movie and the screeching whirl when that chainsaw fires up!

A final piece of advice, if I may. So, if your PlayStation goes on the fritz or your video doorbell blows up or your Nespresso machine conks out, before you call the repairman, turn on all the lights, check behind the picture, cause you never can tell – there just might be a gremlin in your house.

My portfolio is as diverse as it is huge but one thing that is for sure is that you thundering lunatics seem to consistently go nuts for how I portray the retro toys and games within my ‘Retrospective’ works. So, in the spirit of Christmas, feast your eyeballs on this chaotic beast!

What’s that saying? Go big or go home? Well home is no place to get ideas for your Christmas list, is it? My insanely popular ‘The Memory Remains’ series featured a quaint little toy shop that then opened out into a vast cave of wonderment. The architects and structural engineers amongst my collectors would easily have thought how the heck was that possible from the exterior but it’s all in your head as a kid, it was always bigger and brighter in your imagination than reality and I have embraced that time and time again.

It's 2023 and I intend to embrace this Christmas, so I have gone big for this piece, bigger than BIG Ken’s Bell! Eh? Sorry, welcome to how my mind works! If you get it, I love you. Whilst so many of us have those memories of visiting the local toy shop and all of it’s charm, some will always favour the sheer magic and scale of the one and only ‘HAMLEYS’ on the iconic Regents street in London. Does it get better than that? Don’t spoil it and say ‘Duncan’s Toy Chest’, oh hang on – talking of spoilers ;) And don’t you dare say ‘Argos’, or ‘Toys R Us’! Those pens were crap, and that blasted giraffe was a bit creepy.

So yes, I have gone big, bright and quite brilliant if you don’t mind me giving my trumpet a quick tootie toot toot! ‘Child’s Play!’ was a genuine joy to work on, one that embodies why I don’t start off with a regimented list of what to include, it just evolves, swells and explodes out everywhere – just like those grotty bottied pigeons! This is as much an opportunity to look within the toy shop as within my peculiar mind! There is so much to see and decipher, I won’t attempt to list out or to even explain, I will just let you enjoy the madness and magic!

Art to me is everything, it is my escape and my time machine. I was going to drop in a line from ‘Back to the Future’ about not needing roads but it’s late and my bulldog wants his dinner, and his arse is my enemy. However, speaking of roads it reminds me of this ability to escape. It’s cool, you can keep the violins locked away but at the time I was creating ‘Child’s Play!’ my car had a cracked wheel from a pothole the size of the cave from ‘The Goonies’. I remember getting a lift from a good friend back to the studio and trying to explain what the hell I was doing that day. Have a good look inside Boba Fett’s cab and try and detail that to someone! Welcome to my world, I love it and I am so proud that you lot love it too!

Thank you for giving me the platform to look back to leap forward.

What a movie, what a house! What a pair of clowns!

I loved Christmas as a kid, I absolutely bloody loved it! I know we say it so often, but it was different back then. Every present was so special and magical because not only did we believe, but we cherished everything. I remember getting ‘Home Alone’ on VHS in my stocking and seeing it shoehorned into the furry sock that looked like it had the worst case of hemorrhoids ever seen! I have vivid memories of watching it in my bedroom with the glow of the Christmas tree on my little TV that I bought from the Littlewoods catalogue over a period of 3520 weeks!

I love what I do, seriously I absolutely bloody love it! What an amazing way to provide for my family and bring mine and your memories back to life in such a magical way. This was epitomised just under two years ago when I had the pleasure in working with the brilliant and inspiring Alex Brooker to create a piece of original art that captured his genuine love for ‘Home Alone’! So many people have been desperate for this to be released as an edition, as not only do they love the movie too but for how it’s captured the pure magic of Christmas, it’s real and authentic, a collaboration between two who share a genuine love of the film. It will stay exactly as it was, a commissioned piece and I respect that.

However! As part of my ‘KIDULTS’ collection, ‘Don’t F*ck!’ is an epic continuation from this piece here but in no way a rehash of my first image. That wouldn’t be cool, would it? This piece tells the tale of the good little boy who took on the cowboys who rob a living and make them look a bit stupid, well they did that themselves. They’re what the French call ‘Les Incompétents! Not all battle plans need a tarantula and micro machines, just the desire to win, to bust your arse and fight with everything you have whilst remaining calm and collected with a thin grin. Authenticity, talent, humility, and integrity. Always integrity.

Alex’s vision was all about the house, and why wouldn’t it be? It’s magical. What you see here however, supersedes this. It is all about Kevin’s masterplan, when there was no time for a plan B, it had to work, and it did! Set in front of the grand façade of the house and its twinkling lights, Kevin stands proud, with his weapons laid out – like he’s just emptied his pockets out into the snow. For such a baby-faced kid, it’s the look in his eyes and that thin grin that fuelled the title of the piece. My Mum loves the image but begged me not to call it that! Whoops, I guess that’s me on the naughty list, coal for Christmas!

What I love is being so engrossed in the pieces that I work on that random details work their way into the scene, ones that make sense when you know how my mind works. And this is the thing, this is what makes one artist different to another – it’s their mind, yes you can work from a list and get it all in but it’s these random deviations that gives you an insight into what makes the artist truly unique and the piece genuinely authentic. I love how my imagination goes haywire and it seems you filthy animals do too!

This year (2023) I had the pleasure of going to New York for the first time and it was incredible, so special and I made a point of watching ‘Home Alone 2’ recently as not only did I want to kick start the Christmas spirit, but I wanted to feel close to the city again. Is the sequel as good as the first? That is a tricky one isn’t it. One thing that is certain is that there will be a follow up to this piece, just getting that out there ;)

So, I’m going to give you to the count of ten to get this piece hanging on your wall!

Brand new, so new I haven't had the chance to write the narrative yet!

How the hell has it taken me ten years to take on Beetlejuice?! What a brilliantly bonkers film! Well good things come to those who wait I guess and what with the sequel coming this year that looks incredible, the timing is perfect. It does seem that the movie often gets overlooked but when those memories come back, it very quickly reminds you just how you were fascinated by the plot, the setting, and the brilliant, brilliant characters! It certainly has a cult following.

Released in 1988, it was so wonderfully 80’s, every damned thing about it! I guess that era has stayed so popular for these type of comedy horror movies because of the special effects, great back then but they haven’t aged well – yet because of that it just adds to the warmth that you feel towards it nowadays when such effects are way too over the top and maybe too real. The same applies to Ghostbusters, back in 1984 the way that we saw Slimer, and the terror dogs was so much more fun than what we see in modern instalments like a possessed bin bag or pizza.

It was really interesting to revisit Beetlejuice after so many years, it stirred up so many memories. What it did remind me of was that back then as a ten-year-old little cutie that it was actually scary. Not in terms of the effects because they weren’t bad at all, it was the subject of death. It troubled me when the couple crashed through the bridge and drowned and came back as ghosts, realising that they had perished. Ignoring that though, how incredible is Michael Keaton as an actor, I had no idea that it was the same guy who played Batman so brilliantly. I guess back then (sounding old now!) there was no internet to expand on what you had just watched – you simply enjoyed it for who the actors were playing and nothing more. It was all about the movie and nothing else could get in the way. Pure cinema, pure fascination.

I’m counting how many times I mention Beetlejuice here in case the mouldy faced lunatic bursts in, but I think it’s only if you say it three times in a row, go on I dare you! That reminds me of that dare at school when you were challenged to say a name into the mirror – I’m pretty sure I did it, but nothing happened apart from shitting myself – good that the mirror was in the downstairs toilet! Anyway, back to the movie, it’s showtime!

The very nature of the film’s narrative and aesthetics are perfect for me, dark, quirky, random, and vivid. As part of this collection I had previously worked on a piece based on The Shining ‘REDRUM’ and for that piece I set about depicting the movie in a ‘Storyteller’ way where it is all about the detail and not the characters, Jack was shown only as a shadow and reflection in the mirror and the twins just had to feature but otherwise It was all about the devil well and truly being in the detail. This was to be in line with a past piece called ‘Smile’ where the detail was enough, but the character involvement transformed it. I did contemplate it for Beetlejuice, but the brilliance of the characters was too good to leave out!

I have tried to capture the wonderful qualities of the movie within my interpretation, I have spent so much time adjusting the colour balance so that the piece is dark but vivid but not overpowering or too intense to hang in your living space. Production probably despise me, but I love it, it’s important and you lot are worth it! I was toying with the idea of creating a scene within the loft but feared it may end up being too dark visually, another thought was to set it by the bridge but that clearly still troubles me! The graveyard was a great setting and so different to what you would typically see, devoid of unease but still creepy. Decision made.

The truth is, there are so many amazing settings and references within the film that I had to try and integrate them into my own take on the movie and I quickly realised that this was going to be so successful. I wanted it to be full to bursting but not too busy, pulling big details back to give a better focus and order. It was a solid example of how confident I have been in my decision making. The intensity that I was working at was full on, yet it was combined with such a strong sense of calm. This was the feeling from start to finish with this collection. From a personal level, I needed complete and utter focus, and the end results are really quite something, another example of so much positivity coming from a challenging time.

So, ignoring the main man, who is your favourite ghost in the film? Harry the Hunter? Charred Man?! It’s great how each have clearly died a horrific death yet are so likeable, I feel like I need to give Charred Man a hug, but he would surely disintegrate or leave a blackened mess on my new top. Karma, I hear you cry? Payback from all of you who have been covered from my burnt frames! Whoopsie! Fuck it! I shall never change! Although I better be careful, or I will end up starring in Beetlejuice 3! Anyway, back to the piece! I have a good feeling about this one, you just don’t see artworks in this way depicting the movie so I hope I have done it justice, I love it personally and I can’t wait to hear your reaction. Oh, and if you haven’t seen it, check out the insane frame on the original! I’m still finding bits of that moss where the sun don’t shine!

So, it’s 2024 and this year marks a decade in this crazy art scene, what a journey eh! More on that another time. My first ‘Lost in Hollywood’ collection saw my Star Wars debut, on canvas not screen that is! Since then, I have continued to create pieces that celebrate my memories of growing up alongside such a phenomenal franchise, each one being completely different and unique. Some are bold, blatant, and battle-led, others are much more pulled back, pieces that make you think. 



When I chose to embark on my journey of independence in 2018, I chose to create and release a piece entitled ‘Battles Passed’, a serene moment in time where huge details were masked to the eye at first instance. My collectors loved the subtlety of the image and the narrative that drove the piece. The following year saw ‘Shifting Sands’, a wonderfully gentle scene that involved key objects being uncovered by the winds that blew across the desert landscape. Again, a true thinker’s piece that could be enjoyed as an authentic tribute or one that pulls on the heartstrings because of what it represents.
 
So, considering my ten-year anniversary and everything that has happened, I thought it perfect to create a piece that epitomised this ever evolving and unpredictable journey and embodied this concept of shifting sands. Speaking of which, this piece was initially planned to be released as my February offering but that was then changed from the results of my planning for the year ahead. I will be launching my Spring / Summer collection on May 4th, so you don’t need to be a Wookiee to work out why I then switched my focus to an alternative theme. So why don’t you just release this in May? You’ll see, I just think it is a perfect time to mix things up a bit.  
 
‘As You Wish’ takes the title from that moment when Boba Fett talks with Darth Vader, a simple line that offers so many possibilities. What I have looked to do is go big and bold but then pull things right back to contrast and complement. The iconic bounty hunter just screams nostalgia and is quite simply cool as hell and I wanted him to dominate the scene whilst still leaving much to the imagination. Boba is stood with eyes on you, like you’ve just stumbled upon a moment in time, a moment when no words are needed, a silent acknowledgement. Detailed around him shows where he has been, yet so much is left open to interpretation as to what happens next. For pieces like these, I prefer not to force feed you with a definitive concept, instead preferring for you to decide why and what next. 



For me personally, what I have found the most rewarding to date is how my imagery and their narratives resonate so strongly with so many. The fact that they sell so well is simply a humbling bonus. Quite often you end up sitting back and digesting an image that you have created so intensely, and it is that moment of calm that you realise why you have taken it in that direction. It is where you head and your heart is, the subject matter itself is simply the outer layer. It is the meaning that is its heartbeat.
 
What I have learned, is the importance of quality decision making. Yes, impulsiveness and passion can often generate brilliance but amongst all of what you face, it is so vital to just stop and digest what you have experienced and where you can go from that point. It really is that moment in time that is everything, one that can determine so many more that you will experience.
 
So, you lunatics have asked for a piece that featured Boba Fett for years now, well, as you wish! 

‘Love Ain’t Dead’ is a wonderfully beautiful piece that transforms a scene devoid of hope and full of despair, and showcases the sheer power of love, epitomising its ability to mask over the gritty undertow of reality.

Deep eh! In concept yes, but visually no. This is a whole-heartedly positive image that is full-to-bursting with emotion, passion and detail. Combining cherished romantic movies such as ‘Casablanca’, ‘Gone With The Wind’, ‘Titanic’, ‘Lady & The Tramp’, West Side Story’, ‘Romeo & Juliet’, ‘Dirty Dancing’, ‘Ghost’, Beauty & The Beast’, ‘When Harry Met Sally’, ‘La La Land’, ‘Broke Back Mountain’, Pretty Woman’, ‘Love Actually’, ‘Notting Hill’, ‘Moulin Rouge’, ‘Mama Mia’, ‘Sleepless in Seattle’ and ‘The Notebook’!

It’s not all about setting things on fire and mucky language here, I do have a soft side! I love to mix things up and everything is created for a reason, art with meaning, always for a reason. It’s important to stay authentic as an artist whilst also keeping the most important part, the collector at the forefront. I know everyone has a dark side but there is a lot of love out there too! ‘Love Ain’t Dead’ is a blend of my ‘Lost in Hollywood’ and ‘Storyteller’ signature styles, designed to yank at your heart strings and draw you in to seek out the meaning and the detail, guaranteeing a genuine love affair for all of you old-fashioned romantics!

As a break away from single film or story focused compositions, I have become more interested in creating ‘mash ups’ that combine an array of titles that come together to deliver a truly unique and interactive experience when seeking out the details and the narrative that drives the piece. This was showcased in my 2022 ‘Spielberg’s Hollywood’ blockbuster that has been so well received by my collectors. So, my thinking was to create a piece that would give the same appeal and serve as a bargaining tool for those who were aiming to convince their other half to let them buy ‘Spielberg’s Hollywood’. I hear this so many times, especially at shows when I have to step back and watch it play out, it rarely seems to fail! I love you lot!

The intention for this piece was to start off with a gritty, almost post-apocalyptic scene of decay and neglect and then to set about transforming it so that you don’t notice what surrounds you, instead being overwhelmed by beauty and positivity. The idea being that true love can give you focus and hope. The central detail focuses on Lady and her ‘Tramp’ seated for their meal and completely and utterly consumed in each other’s presence and with all of what goes on around them falling silent. Really sweet and so, so honest. I won’t spoil it by listing out all of the detail, some is blatant, others are much more subtle and harder to digest, oh and if you decipher the teddy bear reference then you really are hard-core!

I loved creating this piece, I have a rosy glow about me now and the burner torch can stay hidden away in the cupboard for another day. I feel like I need to listen to ‘Boys to Men’, chop some cucumber for the eyes and put my hair in a fluffy towel! Ten years in this art game and I think I have finally lost the plot! Bring me the straitjacket bitch, oh and my slippers!

Is love dead? Is it bollocks!

The sheer brilliance of Harry Potter could see it fall within both my ‘Storyteller’ and ‘Lost in Hollywood’ collections, as can many other subjects as many start off in print. For me however, due to the incredible art of Storytelling by J.K Rowling, I have positioned this as a ‘Storyteller’ piece.

As I am celebrating and acknowledging a decade of creating art with meaning, I have spent a good time reflecting on past pieces, from 2014 and 2015 especially when so much of my work was deemed quite niche due to the complexity of the concept and meaning. Many were so obscure you may not have known of the story that it was born from. That was probably a good thing when I was commissioned at that time to create a piece on ‘50 Shades of Grey!’ It was a great period as so many were collector or gallery requests to simply take on a favourite book and interpret it how I saw fit. As an artist in my formative years and one that lacked confidence and direction, I was always humbled by this show of faith in me as a storyteller tasked with looking after their investment as well as a subject that often involved a deeply personal link.

A good number of these were based on Harry Potter, they included The Room of Requirement and Hogwarts and would often involve that choice between darkness and light. So, for 2024 I wanted to embrace this and go back to my roots as such whilst also hopefully demonstrating my progression from a technical perspective. It’s always a tricky one when you list out the subjects that you are going to be releasing as when collectors see a title, their minds start racing and that can be challenging when you know that you have taken something on that is not blatant and instead using the very essence of the story but in a way that means it can relate to many others who may not even know or care that it has links to the title. So, I am always very transparent with that. ‘Draco Dormiens’ and ‘Anything’s Possible’ are two very successful pieces that I have created in the past and both scream Harry Potter without needing to tackle the narrative. For ‘Bring Me To Life’ I wanted to make it all about the meaning.

What you see here is an image and its narrative inspired from a much earlier piece called ‘The Struggle Within’ which focused on the Mirror of Erised and the choices we make with the battle between dark and light. In addition to this I have also embraced the success of past pieces ‘Fight or Flight’ and ‘Lithium’ that each involved a cloaked figure that, along with the meaning, dominated the artwork, making the fairy tale simply become a subtle link. It was the cloaked figure that drew me in with my initial thinking for ‘Bring Me To Life’ as it creates so much intrigue and ability for people to relate for so many reasons. There was a clear link as I could then focus in on the Cloak of Invisibility.

However, I wanted more from this piece. If I had simply put a stationary cloaked figure stood in front of the mirror, it would have looked great but ultimately static. I wanted to push it and myself further and show the point where the reaction happened from when the figure looked into the mirror. That way there is more drama and emotion and a stronger link to the underlying narrative. You must push yourself as an artist and storyteller. So, what you see is almost ghostlike in appearance, it is haunting and creates a response. The cloak of Invisibility and the Mirror of Erised work in unison here through the meaning that drives this piece. What I have done is to depict someone who lacks confidence, self-belief, self-worth and direction and through wearing their cloak they feel or want to feel invisible to others. Sad but true.

Now here is where you take control, what do you see, or need to see? The mirror is meant to show you your deepest, most inner desires, but what do you see? Are we looking at the figure reacting in a positive or negative manner from what they are shown? That’s not for me to dictate. I have simply handed this over to become your artwork, your interpretation, your reason for connecting. Whichever you decide, the next step is the same – the figure has a decision to make, which way do they turn? You can see from the exploding glass shards that there is a reaction, a connection. What we do know is that the truth is there, like it or not. How can you see into my eyes like open doors? Because eyes are like mirrors or doors into one’s soul.

If you look through the exploding glass you will see that the forest awaits, hinting that regardless of which direction you choose to embark on, you are going on a journey. Personally, I absolutely adore this detail, see how the red detail links to the tiny red sections on the stained-glass windows? Look at the scrawled messaging on the walls and the floors if you please. It’s sad, so sad but still ultimately positive. The figure is at that point, looking for answers, for hope, whilst acknowledging where they are at that moment in their life. ‘Searching to find a love upon a higher level’ contrasts with ‘finding nothing but questions and devils’ suggests that they are truly lost and wanting to be found. ‘You are the life among the dead, bring me to life, save me from the nothing I’ve become’. Heart-breaking isn’t it, and sadly all too common. However, no one is ever truly alone, there is always hope and good souls to guide you.

Music drove this piece; it took it to a higher level. It battered me throughout, it haunts me now, I’m trying to type through tears. ‘Last Resort – Reimagined by Falling in Reverse is the song. In addition, ‘Bring me to life’ by Evanescence adds to the emotion within the image and its narrative.

I love how close darkness resides to light and the battles that play out between good and evil, it resonates, and runs amok through my art. Life is all about decision making right? So, you’ve seen what you wanted to see or feared you would see. What now? Which way? Look left and you’ll see the beauty of guidance and direction from those who you have loved and learned from. Look right and you see those who haunt you, who stalk you, those who ‘lie’ in wait for you, who prey on your vulnerability. Fuckers! You’re stronger than you think, braver than you realise, and despite what you may think, you are never, ever on your own!

Choose life, please x

Who said cinema is dead?! The Memory Remains 3 shows that it is very much alive, even if with a certain amount of artistic license! Welcome inside a classic cinema foyer that screams nostalgia and catapults you right back to your childhood when a trip to the cinema with friends or family was a truly magical experience, in the days before social media, online leaks or closures. Your heroes and villains come out from the smoke and are brought to life in your mind as they play out a new scene. Take three!