Mark Davies

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

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

So, what do you think? Suit you?!

I first introduced ‘Lunatics and Legends’ in 2020 as an exciting alternative to my intense, narrative-driven scene pieces. A much more blatant, ‘in your face’ abstract style of mixed media work that was all about the texture and embraced my blurred ‘push and pull’ method of creating a digital image.   

I had used the style long before this for much more niche subjects, so it was great to go to town on big superheroes and twisted villains. Despite these pieces not relying on a multi-layered narrative to solve what you see, there is still that element to them where the lines between who is the hero and who is the villain are as blurred as parts of the image itself.

A lot has happened in the past couple of years, and I am so pleased to see the success of this style of work whilst I have been busy conceiving and delivering exciting and engaging new formats to showcase my art. One of those has been the incredibly popular and versatile VHS edition, largely due to the compact size and the level of hand embellishing that all come together to create something truly special. The Story Book editions evolved from this earlier this year and through being sized and framed the same, can be displayed side by side with the VHS editions.

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! Featuring four float-mounted cards that each display either a hero or villain, who is which depends on you.

Each card is hand finished to appear aged and scuffed, with the occasional splatter of blood (not actual blood!) thrown over them. The backboard is heavily embellished with paints, with each one being different. The frame features a charred gold inlay that is starting to crumble away to reinforce the darkness that runs through the characters, reminiscent of the battles that they fight or force. I was pretty confident that this format would work beautifully, and I think I may just have laid down the ace card.

So, what do you think? Suit you?!

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

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

So, what do you think? Suit you?!

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

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

So, what do you think? Suit you?!

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

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

So, what do you think? Suit you?!

Now this is for the true obsessive GB fans! Whether you call it a Particle Thrower, Proton Blaster, Proton Gun, Positron Collider, Neutrona Wand, or Proton Wand, the result is the same! This piece looks like it’s been in a real battle and got slimed and fried AF!

I’m always striving to mix things up and look at ways of introducing my art in new formats and connecting with my collectors. Halloween 2022 saw me release something very different, and bloody dark! My Nightmare on Elm Street Claw plinth was the first piece that I have done that broke away from the traditional print editions and I loved every moment of it, and it has been so well received. It was a signal of my intentions to keep pushing and to deliver pieces that were true to my style but working with movie props to create something unique and special, whilst remaining true to my style of work. The aim was to offer a supporting piece that would complement a traditional print edition.

So, my ‘RETROPLASM’ series has given me the opportunity to build on this and do something much less dark, although I couldn’t resist getting the blow torch out! ‘Grab Your Stick’ has transformed one of the coolest movie props that there has even been and made it, well I guess, funkier, and that’s before you turn the lights off – yep, the resin base glows in the dark whilst the neon paint also comes alive under lairy coloured light. 

You are free to grab your stick, flick the switches and fire the sucker up! It will slam you right back to your childhood, just don’t cross the streams! Why not? Put simply, coz it’s bad, very bad! If you’re fuzzy on the whole good/bad thing, then maybe this will help. Try to imagine all life as you know it stopping instantaneously and every molecule in your body exploding at the speed of light.

Oh, but don’t stress too much, batteries are included!

Gepetto he is not, but this carved wooden plinth displays the stuff of nightmares!

This intoxicating piece is the first offering to sit within his 'Against The Grain' series, a body of work that will grow over time and represents Mark's intention to continue to do things differently. Mark has built up an incredible reputation for the level of craft that shines through his unique frames, and it is these details that you now see in this piece.

Everything about this is unique, from Mark hand selecting the piece of Elm at a local timber mill through to carving the claw marks that are soaked in blood red resin. No two will, or can be the same. What starts with a beautiful (and innocent!) piece of Elm, is then stained, blackened, bashed and burnt. The haunting Freddy Claw glove has it's metal blades set into the blood resin channels and is then subjected to the same level of customisation as the plinth.

Limited to what will be just 20 original variations and priced incredibly well considering the level of craftsmanship and hours needed to create each piece. This is something that needs to be seen close up to be truly appreciated, but how close do you dare get to that glove?!

The look in his eye, the hat, the car, the rags-to-riches story, the knight in shining armour, the modern Cinderella, the boots, the endless list of appeal this film held for the viewer. 

I Want The Fairytale- Pretty Woman is a full and romantic limited edition piece from the immensely talented mind of Mark Davies that summarises this iconic Hollywood love story in one image.

Look closer and spot the many film references, a talent Mark is renowned for.

Now available at MR. Art Gallery.

Available in a variety of sizes with prices starting at £395.

An excellent addition for any movie, family room or bedroom - even your office or commercial premises!

Al Pacino in his most iconic role as the cocaine fuelled, gangster and kingpin: Tony Montana in what is widely recognised as the greatest gangster film ever made, Scarface.

A cohesive and striking piece at a glance but most take a closer and spot the 'easter eggs’ hidden in plain sight.

Every time we look at this piece we find something new. 

The World is Yours - Scarface by Mark Davies, now available at MR. Art Gallery in a variety of sizes with prices starting at £395.

An excellent addition for any movie, family room, man-cave, office or commercial premises!

Batman and his arch enemy The Joker depicted here in Chaos and Order. A powerful and striking piece from the immensely talented mind of Mark Davies.

Now available at MR. Art Gallery.

Available in a variety of sizes with prices starting at £395.

An excellent addition for any movie, family room or office/ commercial premises.

Jack and Rose. Two people from different worlds who collide in spectacular fashion and fall madly in love.

The most heart wrenching love story that gives Romeo and Juliette a run for their money so to speak.

My Heart Will On, by Celiene Dion is iconic in itself - representing soul mate levels, intense love - many a 2000 wedding saw the bride and groom take to the dance floor and have their first dance to her tune.

This beautiful piece from the immensely talented mind of Mark Davies is available at MR. Gallery and would make a gorgeous addition to any boudoir, bedroom or bathroom. 

This would also make a special gift for a partner or as a wedding gift.

Available in a variety of sizes with prices starting at £395.

 
Contact us to arrange a viewing or buy online today. 

Find us a child of the 80s who didn’t see this iconic franchise and we will give you our hat!

Outareach - Back to the Future, is a colourful, comical and collectible limited edition piece from the immensely talented mind of Mark Davies.

Now available at MR. Art Gallery.

Available in a variety of sizes with prices starting at £395.

An excellent addition for any movie, family room or bedroom - even your office or commercial premises!

Star Wars - one of the most iconic (if not THE most iconic) movie franchise of all time - depending on who you ask.

This fantastic piece from Mark Davies latest digital art collection is now available.

Available in a variety of sizes with prices starting at £395.

An absolute must for every movie fan.

An excellent addition for any movie or family room.

'Why So Serious?' VHS Edition

Floated VHS cassette, embellished board, playing cards in relief, smashed and painted perspex with bespoke float mount and frame

Image size is 11 x 8"

'Lunatics and Legends' will showcase one character (some say, the ultimate character) - the Joker! 
Consisting of 3 mesmerising images; a haunting 'The Devil On My Shoulder' which is available in full colour and a dramatic black and white version with coloured detail and a striking 'Why So Serious?' image that hits you right in-between the eyes!

In addition to Mark's tried and trusted giclee limited editions there will be some genuinely exciting and innovative formats to excite your clients and entice people into your gallery playing on the 'did that thing just move?!' appeal to passers by. 

'Why So Serious?' will also be offered as a VHS edition! As you know, the 'Lost in Hollywood VHS collection' sold out within 48 hours and this edition is even more intense. With customised mounts and playing cards that raise up along with smashed, melted and sprayed glazing this is a truly incredible piece and now offered in a 20 + 5 edition to allow for affiliates to be able to re-order. 

Toxicity (Suicide Squad)

This piece follows on from my 2020 Joker piece ‘Smile’ that was set within the Arkham Asylum. I wanted to do something as equally dark, it is really intense! What you see focuses on the relationship between Harley Quinn and the Joker and how incredibly toxic it is. It conveys how completely intoxicated and infatuated she is and under his spell and unable to see the wrongs from their relationship and being unable to truly break away from it. It focuses on how someone can have such a hold over you where you will literally sacrifice everything and do anything for them, whether that is quality of life, state of mind or self-worth. 

It runs true to the narrative of the film, but it really builds on this sense of toxicity within a relationship that feature in past pieces such as ‘The Wolf Within’, very dark and real. Yet, I didn’t want it to become too conceptual, as with the ‘Smile’ piece, it has an underlying narrative, but it is a celebration of what the movie’s fans would love but done in my way. 

This scene is complete on fire, everything burns and is about to explode and implode. As with ‘Smile’, there are two main characters to enjoy. Harley is breaking away, she screams fight, inner strength, and power! Yet the impact of the Joker’ stood central is massive, sinister and controlling. The piece would have been a cracker without him there as Harley is literally strong enough on her own, but he just reinforces the fact that he still lives on in her mind. Her memories of their relationship exist within the factory buildings, the moment when they first met when she was his Psychiatrist is beautiful and contrasting. 

I love how you then see them move in for a kiss. In contrast there’s the powerful moment when the Joker jumps in to pull her out from the acid bath after she almost paid the ultimate sacrifice for his love. These semi-translucent memories that we see and that she sees represent just how no matter how toxic and destructive a relationship can be, these innocent memories that flood your mind won’t fade as quickly as a bruised arm or heart but that ultimately will hold you back. 

Ultimately it is a positive image, she is basically saying ‘fuck this, you have no power over me, you don’t own me’. You know what I’m like, I always try to get a car into a scene where possible! I love it! The other characters are depicted in various ways amongst the scene. I have had such fun creating something that is so angry but so positive and I hope through my own interpretation that I have given something unique to the fans of the movie.

Vendetta (The Godfather)

This is a piece that just makes you laugh when you stand back and look at what you’ve created. It is just so bloody cool, it had to be! The Godfather is so incredibly powerful, visually, and conceptually so you can so easily miss the mark with it. I had previously created a ‘Corleone’ piece that was his side profile made from smoke which is one to seek out if you aren’t familiar with it. However, the past couple of ‘Lost in Hollywood’ collections have featured iconic gangster pieces so the time was right to create an intense scene piece for my collectors. 

The end result is so different to what I thought it would be, originally it was going to be a gritty street scene where the Don was shot whilst shopping for oranges. Then it was going to be the toll booth scene but from watching the movie again with a fresh pair of eyes it was the intensity of his office that struck a chord with me and fuelled my imagination. Everything revolved around the office, where deals were made, vendettas planned and how you then see the actions come from it. It is such a dark room yet so rich is detail, warmth, and innocence. 

The office was built completely from scratch and that alone makes it an incredibly cool and rich image and didn’t need the central character, yet when he was introduced, it took the piece to a completely different level. The power that resonates from him is insane! I’ve not tried to put a different narrative to this piece out of respect for the movie but instead I wanted to really test myself technically, after all that is what it is about as an artist - the want to improve and grow.

There are details within the scene that didn’t need to go in but that I wanted to do something that was incredibly challenging. Look at the fish tank! In the movie it is tiny and subtle yet hearing the line ‘sleep with the fishes’ and how sinister that is, gave me a thought of giving it much more presence. From that you see the semi-transparent view through to where the Don is sitting, it all turned out so well and gives me that ‘puff your bloody chest out’ feeling.

Other subtle details that may be random, but the technical aspect is right up there. For example, the blood orange that is literally spilling blood or Don Corleone’s face merged into the markings on the ill-fated horse’s head. There is so much in there to spot, it is a pure celebration of an incredible movie. It is so dark, so bloody toxic yet coupled with this beautiful lighting that radiates inwards through the iconic shutters.

A detail that appealed was how he was being betrayed from within and this is depicted by the desk that smoulders and the thorns that twist through the floor and the wood. I love how oranges symbolise imminent death and I have amplified that through the orange tree that has grown through the foundations as the wolves start to circle. There is so much in this piece that the die-hard fans of the movie will love seeking out and interpreting and I hope I have made you a piece that you can’t refuse!  Take the piece, leave the Cannoli! 

Keep Moving Forward (Rocky)

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

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

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

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

‘I must break you’ - no chance!

Join Me (Return Of the Jedi)

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

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

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

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

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

Strength and Honour (Gladiator)

Gladiator is one of my all-time favourite movies, it is just a truly spectacular film! It has been on the list to do right back since 2016. I always had in my head that it would be a silhouetted character rising up from the colosseum, surrounded by olive trees that were breaking through the crumbling stones, a very spiritual piece. There was an image that I did a good number of years back entitled ‘Now you’re free’ that many would never have associated with the movie, and it was great that the collector who bought it, did so for the sentiment. The sense of finally being set free from restrictions, a female figure made entirely from butterflies, walking through the fields towards a house set within the Tuscan countryside. It had a very similar concept but done in a totally different way. 

For ‘Strength & Honour’, this was a chance to do something much more blatant towards the movie’s aesthetics. The original plan was to make it much more dramatic, with raging lions and battles but what you now see is how my mind works, how I interpret a subject from a spark that resonates within the narrative of the film and how I find a connection. I guess that is what makes me so different to another with a similar skillset who will take the piece in a different direction. It is the mind that makes it.

Again, it all comes back to this sense of being set free from restriction, from being kept away from your family, being enslaved, forced to fight for what you do and don’t believe in. Maximus’s battles are all laid out before you before ultimately being set free, albeit through his death. It was the part of the film that really struck a chord, amplified by the haunting soundtrack. Music has always played a key role in my work; I remember years back trying to find the particular songs were and that was the days before ‘Spotify’ where everything is now ‘on tap’. It was great to listen to the same songs on repeat, immediately after watching the movie and throughout creating what you now see. Without doubt, it amplifies everything that I strived to inject into this scene. 

What you see is Maximus’s journey from start to finish, with all the details from his battles displayed. A crumbling, broken amphitheatre opens out to reveal his family home beneath the beauty of the Tuscan landscape. A truly beautiful scene, the lighting is stunning, the colours are beautiful, I absolutely love it! Probably the most wonderful detail is the three white horses that gallop into view. These represent Maximus, his wife and his son who are now reunited in the afterlife and free to roam. It is a classic example of how details are born during creating a piece from being completely immersed in the emotion of what you are building. I love the concept that if you are stood there looking at this scene a split second before or after you would have missed such an incredible sight. It injects a quality of movement against the static, contrasting against the objects laid out on the ground, even down to the tiger just stood and staring rather than looking menacing. This huge animal has no battles left to fight; it is one of my favourite parts of the piece. 

I absolutely love how it has come together, I love the Bougainvillea flowers that creep into view, a plant that reminds me of Menorca and one that I still grow in my studio, just! The fallen rose petals link to the final fight scene of the movie, falling through the sky adds to the sense of movement before coming to rest. There are so many subtle, beautiful details in this image. It is one that you really need to stand there in front of it, to embrace the spirit of the movie and the underlying meaning that I believe will resonate with many for many a different reason. I guess I am realising that even more now that so many people collect my work for the sentiment that the piece embodies rather than just the love for the movie itself. 

As soon as I hung the original work on the wall for photographing, I knew I was going to really miss it and I do, I bloody miss it! It is an incredibly powerful image that I have loved every minute of being involved with and I am so proud of what this piece represents. 

We are so genuinely excited to announce that the first piece from Mark's 'Lost In Hollywood 4'collection (July) will be 'Bustin' Ghosts' to follow up from the now sold out 'Saving The Day' edition! Since launch that particular image proved to be a hit but more recently saw it sell out in standard and large formats following exposure on national television and online from celebrity comedians Alex Brooker and Jason Manford.

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

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

‘Old Skin’ VHS – Silence Of The Lambs 

'I had a good long look at potential directions for this piece and identified key scenes and settings from the film, such as the cage, the cell, Buffalo Bills’ house etc. but opposed them for the concern that they just wouldn’t look right on someone's living room wall. Anything else wouldn’t have been iconic enough to sit under the film title so I have chosen to focus on the Death Head Hawkmoth which is such a striking image and one that is clearly associated with the film, not just from the disturbing place that it is put by Bill but because it is dominating film posters and covers since the start. 

For me, I have previously used moths and butterflies within both published and unpublished works as I love the transformation from one state to another and have always linked that to personal development that is linked to happiness and confidence. So, what I have done is tackle this piece by focusing on the killer Jame Gumb, Buffalo Bill. I have focused on the mind-set of the character and what is driving him to commit such horrific crimes in pursuit of his goals, clearly one messed up person but why?

I am a firm believer that people aren’t born bad, something must happen to take away the light and bring darkness in floods. This is clearly the case with Jame, abandoned by his mother — an alcoholic prostitute who misspelled “James” on his birth certificate — and then taken into foster care at two years old. The film’s screenplay implies that he had a traumatic childhood. In the movie, Lecter quotes “Billy was not born a criminal, but made one by years of systematic abuse.” His twisted pursuit to become a woman adds a fascinating layer to the plot and his character, killing obese women and using their skin to create a skin suit for him to wear is extreme to say the least.

The Hawkmoth definitely symbolises Gumbs’ determination to see his gender transition become real, blocked by the authorities for being too unstable he has resorted to his own methods. Skin becomes his canvas and make up and blood his paint and the sewing machine his glue. In his eyes he does no wrong, its’ an art form, a procedure, the scene with him dancing to ‘Goodbye Horses’ (which I've had on loop for a large part of creating this piece) is testament to his portrayed innocence.

What I love about the moth is the clear divide between the top and bottom halves, one being bright and warm whilst the other being dark and slightly uncomfortable. My interpretation adapts each half with detail that is an opposite to each so the perceived warm and bright half is breaking and combusting whilst the darker half is shrouded in beautiful light and warmth. This is to depict the reality that true feelings and characters are much greater and deep rooted than the depth of one’s skin, a person who wears make up and dances around a room is assigned the happy and carefree tag whilst someone who is cold, and dark is deemed to be troubled rather than lacking confidence and simply hasn’t shed their skin and transformed.

The detail now in place on the moth takes an iconic image and creates so much more detail and a sense of intrigue which I love, ultimately it is more beautiful for that, an image that symbolises someone's’ layers and troubles whist conveying a wonderful determination to fly. The image of a skull that is present on the head of the moth and that gives it such a sinister feel and link to death is a detail that drew me in, you might not notice at first but when you do it is all you see. What I have done is to replace this with the iconic Hannibal Lecter mask icon as there had to be a link to such a formidable character within this piece. I hope that I have achieved the same result by doing this, that you might not notice initially but once you do it is all you see.

The background had to be kept subtle so as to make the moth shine and ultimately to create a piece that is very different to others within the collection. However, I wanted to introduce detail that further expanded on Gumbs’ character and killings. As mentioned, skin was his canvas, pretty horrific to say the least. I have created a pinched seam around the perimeter of the background that has been stitched to resemble the killers’ skin suit but treated in a way that it wouldn’t deter people.

However, cracks have appeared, fault lines within his work, from these there is darkness escaping within the lower half to match the darkness on the moths’ lower section that focuses centrally on an area that rises up towards its’ lower body. If you look closely, you can see the male and female icons drawn onto the canvas - the male icon has devil horns scrawled onto it to represent his aim to be a woman. In contrast, the upper sections show beautiful warm light escaping from the cracks and radiating downwards to the moths’ eyes. We must pass through the darkness, to reach the light. 

‘Why’d It Have To Be Snakes?’ Billboard – Indiana Jones 

This piece has a three-fold narrative to it and was created to embrace everything that is great about the Indiana Jones films, the colour ways of the piece are there to reflect the movie branding as well as to help create a striking image on first look. Ultimately, the concept of this piece is to create a scene completely from scratch that epitomises the atmospheric scenes from the films, in this case a temple that opens to reveal a staircase that leads up to a landscape and scenario that we can’t quite see and isn’t clear as to whether what awaits is a beautiful sunset or an environment that burns. I wanted to create a sense of suspense, intrigue, and drama where you would be wary of what lies ahead, could the huge stone heads come to life, what hides within the twisted roots and is the sky actually on fire? The scene showcases a good number of iconic film references, some clearer than others, Indiana’s’ sword, hat and whip, his pistol are all there along with the golden idol, cherub from the Ark and the odd skull! 

The secondary layer of narrative embraces the roll of good vs evil that plays out in so many of my pieces, beautiful lighting combines with black smoke and eerie shadows. The steps are key here, they represent the journey that one must make to overcome constraints and conquer their challenges and face their fears to reach that next stage. There is a sense of urgency in the piece, represented in the foreground where the ground is starting to fall away, exposing skeletons of the past. The journey is blocked by the snake to represent a significant obstacle that is there to stop you climbing up. The title of the piece was chosen to represent that acknowledgement that you need and want to start your journey but accept that your personal fears exist and will be there to confront and test you. The steps are flanked by candles, the left are all lit and there to guide your every step, the right are all blown out, signifying darkness, although 1 solitary flame burns there - representing the hope to see some good in the darkest of souls. The decision to move upwards and overcome the darkness has already started and is shown in the scene with the dove in flight watched by the solitary crow and the serpent. What lays ahead is unknown at this point. 

Finally, the third layer is one that you might see straight off or go searching for clues (Archaeology) to clarify the inclusion of certain objects. What I have done is to create the composition of the scene so that it looks like you are watching the scene unfold from the front row of a movie theatre and that you’re so immersed in the movie that it becomes real, drawing you in to live the scene. The idea here is that it reaches out to people who find themselves in that position where they need to make changes for the better and set foot on that step. This movie concept is why there is a discarded drinks cup and popcorn within the scene, I wanted to add this layer so that it becomes a subtle nicety that evolves the piece from simply a cool landscape-based piece. 

There are a lot of references within the piece and will leave you to find them, I had to place Indiana’s’ hat at the focal point of the piece, it would be wrong not to and with it teetering on the edge of falling only to be held by the weight of the pistol it adds to the drama and is an acknowledgement of when he comes so close to losing his hat, grabbing it at the last minute. Ultimately, I have striven to create something that challenged me technically and that is immersive and intriguing that will be embraced by fans of the movies and is as deep you want it to be.

‘I’ll Be Right Here’ Billboard (Colourful Language Edition) – E.T 

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

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

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

‘I Hope’ Billboard – The Shawshank Redemption 

This piece is ultimately a gritty prison cell scene from within Shawshank State Penitentiary that features a good number of references to the movie plot which is dominated by the escape element but where this has been adapted to represent a more conceptual message that reaches out to a greater audience than just those who love the film itself.

Shawshank Redemption is such a powerful film, not just aesthetically but one that conveys such an enduring power of hope, perfect for my work and the message that I look to portray as often as possible. I have set about creating a scene that is at first study an engaging take on the plot, a window into Andy’s cell but through modifying the tunnel element to the piece it exposes a greater depth.

The tunnel is shallower yet no less dramatic, almost window-like. I have set the view through this window to show the iconic shoreline scene of Zihuatanejo - Mexico. This creates a more direct and blatant vision of where Andy hopes to be one day once free. To reinforce this, I have chosen to indicate that the hole in the wall was covered in fact by a simple picture of the same scene rather than of the poster from the movie that is torn down by the Governor. This creates a different take on the original narrative whilst more importantly reaches out to so many of us that have innocent aspirations, hopes and dreams.

The beach view could mean leaving their worries and their fears behind and creating a new life for themselves or it could simply represent a holiday. Both are of equal importance as a something deemed simpler could represent a much, much bigger challenge through restrictions such as money or other restrictive factors. Andy hoped to walk the sands of that beach from being wrongly incarcerated for close to 20 years and subjected to a terrifying ordeal, to another person it could represent their hope of one day being able to travel after being set free from the shackles of debt, cast over them from someone else’s doing, both represent good being restricted and caged, birds aren’t meant to be caged.

The image through the wall represents something different to everyone who has hope and fights to keep hold of it. Most often a task that appears huge and impenetrable can be chipped away at through time with something simple. The fact that the breakthrough was made with a tiny hammer is why I have placed the tool in the foreground, supporting its importance but reinforcing its size. On all levels it showcases the call to those have been dealt a bad card in life to not just accept it, to establish a way to win and to be free and to achieve ones’ dreams rather than giving up and accepting, to get busy living or get busy dying. The objects placed within the scene are a mix of actual objects that those who know and love the classic movie will recognise and some less obvious, more conceptual details that make you think.

Good has flown away, illustrated by the dove feathers whilst the bad remains only to look out in isolation, symbolised by the solitary black crow that is featured to represent the corrupt Governor who is left to peer through the hole in defeat. The browned falling oak leaves symbolise time escaping for Andy’s friend Red to gain freedom and set out to find what Andy had buried under that solitary oak tree. Andy was a lover of Chess, his time in prison and his plot to escape were a tactical battle, culminating in a masterstroke by the ‘Pawn’ in defeating the ‘King’, this is depicted subtly within the scene.

The other details I will leave for you to find and consider. I genuinely loved watching the Shawshank Redemption years ago, albeit back then more on face value, now, with way more life experience I embrace absolutely everything that it stands for and I hope that I have done justice to a true masterpiece.

Hope is a good thing, maybe the best of things, and no good thing ever dies.  

‘BALBOA’ Billboard – Rocky 

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

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

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

Mirror Mirror – Snow White

‘Mirror Mirror’ is dark, it’s really dark but it’s also incredibly light. It’s inspired by ‘Snow White’ but the original version that was horrific in comparison to what we all think we know. That’s what inspired the ‘Storyteller’ works from the start, just how dark the original versions were that we were read as a child. 

So, what you see here is the second of four chapters, it was written in reverse. Chapter four was ‘High Ho’, written in 2015 where you see her at her worst. Where all of the results of her actions are laid out in front of you in this abandoned church but there is still this hint of innocence there to give you this sense of empathy towards the character that you can’t see. The third chapter, 2018 ‘Fear Is How I Fall’, you see her within the Prince’s castle with everything that she loves around her but sadly still with her demons that are creeping out from behind the curtains, from the walls. The battles are still there and will ultimately see her falling and failing. 

This is chapter two and shows the point where she has been saved, the seal has been broken from her coffin and she’s been set free by her Prince and by those that are trying to support her around her. That’s what the animals and the hints of the dwarves etc. symbolize. It’s a very, very beautiful image. The apple tree is dying and gnarled but there’s a point where it’s come back to life and it’s blossoming and it’s reaching out and touching the coffin, coinciding with where the dove is which is something that has always been used within my work for an incredibly poignant and personal reason. It shows that impact of someone, whether that is someone that you can physically see or one’s spirit that can make such a dramatic difference.

It’s everything that’s about the battles that ‘Snow White’ faced with her demons that raged within her head, as well as physically, whilst others are trying to protect her. The line ‘the struggle within, you seal your own coffin’ is from a ‘Metallica’ lyric that was on whilst I was consumed within the concept of the picture. You listen to a song on repeat to keep you where you need to be within it. This scene, this whole concept of ‘Snow White’ is someone who is genuine, who is wonderful, but someone who has got such intense demons that ultimately lead to her downfall but with these characters around her that are desperate to keep her where she deserves to be. 

The wooden cottage in the background represents that industrious nature of the dwarves that are working so hard to protect. You have the animals coming out to surround the coffin. In complete contrast between the beautiful young deer and the wolf, you can look at it two ways. Is there a threat there or ultimately is it trying to protect? The all-seeing eye of the owl, again there is a conceptual thing there with seeing the dangers and trying to warn against.

The key part of this image is the mirror. This concept of who is the most fucked up of them all, that is crucial as it shows how ‘Snow White’ is battling the constant demons within, where it’s a ‘Jekyll and Hyde’ character effectively and what that does is reveal that actually there is no evil Queen, that it’s not a separate character, that instead it’s a trait, a split personality. That evil Queen lives within ‘Snow White’ and it’s her demons, her paranoia, her lack of self-worth that can lead her to making these decisions that she will ultimately fall with. The closer you look at the image the more you can see this battle with darkness and light. Hopefully from knowing this concept behind it makes the tiniest of detail incredibly poignant and powerful. 

This picture really does personify why ‘Storyteller’ is so incredibly powerful and key for me, taking me back to years ago when the original chapters where created, it’s certainly a marker and it just shows why I am an artist, why I create what I do. It’s how I talk; it’s how I scream and probably for others it’s a lot easier to listen through looking. 

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!

 'The Open Door' (Alice In Wonderland)

‘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.  

'Where Dreams Are Born' (Peter Pan)

‘Where Dreams Are Born’ is a piece inspired by ‘Peter Pan’, it’s a piece that I’ve wanted to do for years now. I thought I knew how it was going to look, I knew it was going to be a nursery scene and a London skyline but it’s lovely to see how it has evolved from immersing myself within the piece and putting myself in that room and keeping the image totally light, as much as the temptation to add some form of darkness to it, I’ve not, I’ve resisted, it’s completely light. There’s nothing in there and if can see anything dark in there then you’re certainly darker in mind than me! 

It shows that point that’s linked to ‘Forever Young’, my 2017 piece where we see Peter depicted in this really vibrant silhouette rising up in front of ‘Big Ben’ but what you see is this beautiful nursery scene with Peter and the children flying upwards and past it but instead of being surrounded by the London skyline, when you look from left to right you see this heaven-like ‘Neverland’, which was a 2018 piece entitled ‘My Idea Of Heaven’. So, it shows this journey from reality to where you go in your dreams. 

That’s what this whole piece is about, the power to dream and it’s so poignant now because of the restrictions that our children are living with, never mind us but for our children to not be able to do this, to not be able to do that. It just makes you worry what is in their head and more importantly what’s not. When you think back to being a kid and the roleplay and the freedom to really play without any restrictions, without any genuine danger, what came from that was beautiful and I guess that is the worry with the restrictions at the moment. Of course, they are going to lift but it’s still this bigger concern questioning whether kids have really forgotten how to play, have they forgotten how to dream?

What this picture does is show exactly what comes from dreaming and that doesn’t necessarily mean from when you are asleep, it’s your imagination, it’s using the power of thought to transform yourself to somewhere totally different which results in being somebody completely different. Whether that’s through confidence or something you want to do later on in life from being inspired by these dreams.

It’s a really beautiful, classic nursery setting with all of the toys laid out which shows the point before where they were playing and fuelling their imagination. The closer you look, there are some really lovely details that link to these earlier pieces like ‘Forever Young’ and that’s what I’m trying to do. If you can see on the wall there is a ‘Little Mermaid’ piece called ‘Hope’ and you can imagine Wendy looking at that image and being inspired to imagine and to dream. As you look closely you will see her mermaid rising up from the bed. The ‘Forever Young’ piece represents being free. 

It’s just a really, really lovely image and I’ve loved working on it, I absolutely love how it has turned out, it’s just lovely to look at and I’m really proud of it. What is key is what’s central. You’ve got the dolls’ house and what that symbolizes is that happy family environment, that tight unit that fuels everything. It’s all about the family, it’s all about being able to be like a kid and to take you somewhere where you deserve to be. 

Midnight At The Mall (Gremlins)

‘Gremlins’ was on my wish-list of pieces way back in 2016 when planning my first ‘Lost in Hollywood’ collection but it didn’t come to fruition as I wasn’t convinced that I had the concept to do it justice. Since then it has always been a case of timing, or bad timing. ‘Lost in Hollywood 2’ was released in April 2019 and the third instalment was in May 2020 and considering ‘Gremlins’ has achieved cult status as a Christmas film I always wanted to get it done at a time that it would resonate the strongest with all of my collectors who have pestered me for it! It’s kind of ironic actually as the film was released in June but sod it, it’s a Christmas film!

Bloody hell did I love Christmas as a kid, just genuine family time where the magic shone bright. One of the memories was circling which films we wanted to record to VHS from the ‘Radio Times’ magazine whilst cramming in the ‘Quality Streets’ and randomly ‘Eddy Grant’ playing in the background, an album that became a ‘must play’ each Christmas. I’ve just put it on now actually, the beauty of ‘Spotify’, no more dropping the needle and scratching my Mum’s vinyl!

Anyway, I’ve got a story to tell… I have set the scene within a retro shopping mall, a slight deviation to the department store but it’s always good to do something a bit different, bigger and brighter but ultimately darker. What you see is all hell breaking loose caused by a right little shit who started off all cute and then got fed at the wrong time and turned into a monster. Amongst the chaos there are some lovely details to seek out, ‘Rand Peltzer’ who was a struggling inventor has finally got his break and recognition and now thrives within the mall. Cast your beadies out of the windows and you will probably wonder what the feck is the town hall from ‘Back To The Future’ doing there. Who knew but apparently the same set was used to film that scene as was used in Gremlins.

This film is so damned good and the memories that it stirs up are even better! Do they make films as good as this anymore? Probably but just different. This was the piece from this new collection that influenced the release date as I wanted to make sure it could be on collectors walls for the festive period. What you have seen throughout 2020 was planned in the main last year albeit with a few deviations. I worried if I could get into that Christmas spirit in Autumn when creating the piece but because of the effects of Covid-19 and the growing need to look towards Christmas much earlier it has actually been great to embrace it now. Bollocks to bah humbug!

I know this piece is on a good number of people’s Christmas lists and I hope you love it as much as I did creating it. As Eddy would say, it’s just a harmless piece of fun, however, one must always remember with Mogwai, comes much responsibility!

When ‘Breaking Bad’ was running on Netflix I was always a huge fan. I loved the lead characters, the plot, the darkness, the light, and the vehicles. Yet guess what, I never watched a single bloody episode! ‘WTF’ as you scratch your head in bewilderment. ‘You phoney, you fake! You bloody profiteering charlatan!’ Ok let me explain, bitch!

So, Vince Gilligan’s masterpiece ran from 2008 through until 2013 and my life was intense to put it politely. Trust me, I’m not asking you to grab your resin block and shine up your bow for me, there’s no sob story. The reality was I pretty much worked every hour possible and outside of that I was trying to put out fires, so TV took a back seat. It’s always been on my radar to take on and with how things have been over the past year or so I have really been able to relax and get stuck into some great TV.

I have been asked over the past few years if I intended to take it on and create a piece that showcased ‘Breaking Bad’ in my signature style. It was actually from creating ‘Petrolheads’ that gave me the inspiration of how I could bring this to life as that scene featured a number of vehicles gathered in a remote part of the desert and had a link to how Walter and Jesse would head out into the wilderness to ‘cook’! So that is where the concept started, and I am so pleased with how this piece has turned out.

In terms of the series and my ‘Petrolheads’ concept, there should be no clear link but if you look closely, you’ll see that the two scenes could be a mere turn of the head between them and I love that. Taking centre stage is the iconic ‘Bounder’ RV with its’ billowing blue crystal cloud rising upwards. What I love about the RV is it seemed to behave in line with the character’s luck at the time. It would choose not to start just at the time when it just bloody needed to and be a saviour on other occasions. Having owned a BMW M3 that I put over 160,000 miles on and been humiliated by the thing as well as saved, it just struck a chord.

The scene shows such a cracking range of vehicles and there is so much detail to seek out, some blatant whilst other references are harder to decipher. I was instantly hooked on this beast of a story, from when the theme music started it got me. It’s such a brilliant example of how a character can change through tragedy and turmoil, where that inner demon is woken. To do so much bad for so much good is so powerful, a classic example of how everyone has a dark side but not everyone can control it.

“I did it for me. I liked it. I was good at it. And I was really… I was alive.”

Ok so if you follow my work you can probably tell that I love cars and given any opportunity will drop one or several into a scene! The intention for my ‘Retrospective’ ongoing body of work is one where I invite the audience to step inside the eye of my mind as I revisit memories from my formulative years and early adult-hood, the ones with minimal responsibility! As a kid growing up, I always loved each car that my parents got as I appreciated how bloody hard they worked but I was never one that was itching to be able to drive. I was happy to be passenger in my mates cars in my late teens – thinking of that I am amazed that I am still here! (you lot know who you are!)

So, when I finally decided that I wanted to drive at 20 I got myself a blue Vauxhall Nova SR – she was a thing of beauty even though I had no idea how to drive her. I still remember the price, £3750 and the worst price for insurance was £5000, third party fire and theft of course! I can still recall taking the keys and going to sit in it on the drive and listening to music – Speed Garage, House and Hip Hop at the time. I loved it yet I had no idea, embarrassing but I didn’t even know you had to put the clutch down to change gear. Luckily my dad told me before I set foot on my first lesson with him, another vivid and cherished memory.

I passed second time around after randomly being accused of road rage on my first test as the examiner thought I said ‘damn him’ not ‘damn it’ when I braked to let a car through who couldn’t be arsed to give me my right of way. Anyway, a cracking period of time followed cruising around in my Nova on the loop of Sandy, Potton and Biggleswade in Bedfordshire. I modified so much of the car, I was obsessed. Working mainly nights at the time I would always take the bloody wheels off just so I could clean the brake callipers on each wash, I’m sure I’m not alone. Two moments I remember are painting the rev and speedo needles blue and then setting off to realise that they dried stuck, so I had to ‘kangaroo jump’ all the way down the road to set them free! Another was having the car lowered and bigger wheels (Wolfrace Genesis 15’s) before heading out with my mates crammed into the back. Actually, god I hadn’t even passed my test then as my dad was passenger to take the car back. The end result was the tyres getting buggered from the car being so low that they rubbed and grinded. You could still hear it even over ‘Spin Spin Sugar!’ Great memories.

‘Born To Race’ is set in front of the iconic arches of Madeira Drive in Brighton – a ‘go to’ location for car meet ups and cruises. I have set it as the light is fading to help the neon’s to shine and the car lights and smoke from the burn outs come into their own. You have probably seen from earlier pieces such as ‘Petrolheads’ that I love to unite a group of cars into a scene and this is no different other than I wanted to inject some drama and movement into the piece, to challenge myself and hopefully make the image even better. The lairy ‘Scooby’ and the worshipped ‘Cossie’ spin in the foreground in a form of dance amongst the smoke, portraying that need to compete and race at any opportunity!

The back row features a cracking mix of cult cars from the classic hot hatches that are the Golf GTI and the Peugeot 205 GTI along with the brilliant Ford Fiesta XR2i and then the highly modified Vauxhall Corsa and Renault’s pocket rocket GT5 Turbo! There were so many others that I wanted to include but I wanted to ensure impact rather than making them too small. The potential for spin offs (excuse the pun) is massive so keep close! At the time of writing this there is a call to ban sales of all new petrol and diesel cars in ten years which whilst I understand why, it does make you wonder if scenes like this will just be a distant memory. In the meantime, I hope I’ve just ignited a few amongst all the boy and girl racers out there!

So, to kick things off we are proud to introduce the first instalment this Summer that features the legendary Captain America, the unhinged Harley Quinn, the seductive Poison Ivy, Superman - the man of steel, the phenomenal Wonder Woman and the beast that is Wolverine!

We wanted to really embrace the sense of collectability that goes back to peoples’ love of collecting comic books, action figures and cards so we have kept the edition sizes tiny, just ten and two hand embellished artist proofs in both a standard and large format.
 
This is also the first time that we are introducing a brand-new option of MDV’swhich stands for ‘Mark Davies Variations’, where instead of one full-sized original there are five variations of the master image with the option of specifying frame choices to get you really involved and obtain something really special!
 
This is just the start of what promises to be an awesome adventure!

So, to kick things off we are proud to introduce the first instalment this Summer that features the legendary Captain America, the unhinged Harley Quinn, the seductive Poison Ivy, Superman - the man of steel, the phenomenal Wonder Woman and the beast that is Wolverine!

We wanted to really embrace the sense of collectability that goes back to peoples’ love of collecting comic books, action figures and cards so we have kept the edition sizes tiny, just ten and two hand embellished artist proofs in both a standard and large format.
 
This is also the first time that we are introducing a brand-new option of MDV’swhich stands for ‘Mark Davies Variations’, where instead of one full-sized original there are five variations of the master image with the option of specifying frame choices to get you really involved and obtain something really special!
 
This is just the start of what promises to be an awesome adventure!

So, to kick things off we are proud to introduce the first instalment this Summer that features the legendary Captain America, the unhinged Harley Quinn, the seductive Poison Ivy, Superman - the man of steel, the phenomenal Wonder Woman and the beast that is Wolverine!

We wanted to really embrace the sense of collectability that goes back to peoples’ love of collecting comic books, action figures and cards so we have kept the edition sizes tiny, just ten and two hand embellished artist proofs in both a standard and large format.
 
This is also the first time that we are introducing a brand-new option of MDV’swhich stands for ‘Mark Davies Variations’, where instead of one full-sized original there are five variations of the master image with the option of specifying frame choices to get you really involved and obtain something really special!
 
This is just the start of what promises to be an awesome adventure!