A selection of very old and a little more recent work, all jpegs all B&W.
Printout or colour digitally, but be thoughtful please.
Strange days indeed.
Three kimono studies from my sketchbook.
This is an unused commission for a full arm piece, I don’t really do tattoo design, I turn it down a fair bit and I‘ve never consciously allowed my existing work to be used, (although I know there are few unofficial ones floating around). I’m not anti tattoo, far from it, I just think the possibility of something being lost in-translation is very high, and what I have drawn for one thing, being re-appropriated for another is a bit weird for me.
Why was it unused in the end? Well that‘s another story.
The client wanted a ‘Day of the Dead’ inspired piece, not content in just churning out some half assed cultural appropriation I did a some digging into the background of the holiday and learnt that it has it roots in an Aztec festival dedicated to the goddess of death Mictecacihuatl, so its her I chose to represent. Dolores del Río inspired her face, and the rest of the composition is comprised of various other folkloric death related imagery.
Ford Madox Browns 1851-6 unfinished painting ‘Take your son sir!’, has floated around in my mind for years. I find it unbearably creepy and sad but also fascinating, It depicts his wife Emma holding their son Arthur, its thought to be a commentary on Victorian morality, (a mistress demanding the man take responsibility his offspring), it has such a peculiar composition, illusions to imagery of the Virgin and Child, also a nod to The Arnolfini Wedding Portrait. The desperate face of the woman almost drowned in her corpse like paleness and the weird dead eyed baby with its shiny fish belly skin, hanging in what could be both womb and winding sheet.
Madox Brown eventually abandoned the painting, probably, sadly, due to his sons death, so we only have this unfinished image, with its areas of bleak bare canvas butting up against richly worked skin tones, the intricate mirror and glided wallpapers.
I grew up in Birmingham and the Pre-Raphaelites are never very far away, but seeing this bleak unfinished work at the Tate London was quite the contrast to the lushly gorgeous canvases I was used to. I can’t consider it a favorite of mine, but something about it hangs around long after you have see it, perhaps its the very unfinished nature that fascinates.
I know its a pretty silly image I’ve made in response, where Otto comes out the best, (psst he’s not that big IRL) and I’m not sure of the relevance of Judge Dredd, but see it as a sketch, a seed of something else, maybe something I will never finish either.
I feel very privileged to have been asked to curate an exhibition for Sheffield’s Year of Makers.
It with be running in Sheffield at the City of Makers Gallery in November.
The working title is ‘Woven’ and I’m interested in submissions that explore the medium of the woven material as a conduit for artistic expression and design conclusions.
I will also be showing a new piece of from my own practice as part of it.
Here’s a link to the submission details on the Year of Makers site:
Fancy more details? please get in touch:
Here’s the next stages in the progression of the Moon Revisited piece.
I’ve taken the concept out the sketch book on to A3 smooth cartridge paper, its in HB pencil and I’m inking with Unipin 0.3 and 0.1 pigment fine line pens.
Once inked I rub out any of the very heavy pencil lines and scan into Photoshop.
Its scanned at a very high resolution so when I scale it down to it will retain as much fine detail as possible.
From here I start the clean, copy and readjustment/refinement process.
This Piece has been languishing in the digital equivalent of a dusty draw for about year after the client.. ahem..’changed their mind’ I think that’s the polite way of putting it.
So, I’ve dug her out and given her a bit of a re-model and a re-colour with something of a Roger Dean inspired pallet.
I think she deserves to see the light of day after everything she went through.