Wednesday, 6 July 2016

A Loose Blue Print


I am really pleased to be a part of the new Winchester based Satire magazine SMUG, working as a contributor with both my artwork and article writing. Below is my article from the first issue.  

A loose blueprint 

You have to go all the way; first of all it does help if this process is undertaken on the coldest night of the year. Unlock the front door of your house and pin a note to it saying come inside. Proceed to the largest room in the house and knock out all of the windowpanes. Try to perform this act in the most practical yet physically exhilarating manner possible, don’t worry about the glass if it shatters and crunches often it falls away in one gnarled piece. Push it and it will fall. Establish a controllable climate; Sit two of those wonderfully extravagant bladeless Dyson fans in either corner of the room so that they are facing one another. Do not opt for cheap imitations or a bladed fan, as you will regret it instantly. Set one to air-conditioned cold, the other to a state of antithesis. Place in the centre of the room directly in-between both fans a Sir Norman Foster 'Nomos' desk table with black laminated top and chrome base. For seating decide upon an uncomfortable, austere looking non descript mass produced plastic chair from the 70’s.  Colour of the chair is optional, but white is best. Make sure this arrangement is directly facing the pane-less window. If you are a drinker have a few sizable measures of your favorite falling down water to hand. If you are adverse to alcohol perhaps a chemical substitute either prescription or non-prescription, depending on availability or your own moral ethics. Remove all of your clothes, place them under the desk and sit down.  Use your mobile phone to call a local takeaway which delivers, food choice is optional. Place the order and stipulate that the person delivering should read the note on the front door, remember to act upon this and call out until they hear your voice.  Now wait, wait, wait, listen and wait, wait and listen until a strangers voice calls out, beckon them to you. After paying and tipping fairly, regardless of the delivery person’s gender and your sexual orientation, before they leave speak these words verbatim, without making any eye contact. “Kiss me you beautiful bastard.”  

As an artist I think the above text captures a modicum of how people who create feel throughout all stages of their creative lives. The temperature is always different, the room is always different, everything is in constant flux, but that odd dichotomy of anal-retentive control and absolute vulnerability is always there. The essence is there even if the scenario might differ, the room might change, the desk, fans, temperature, even the house might change, however at its essence, perhaps this is one way to explain what it feels like to let others into the art in which you are responsible. 


Tuesday, 5 July 2016

We’ve Come a Long Way Baby



The people of the UK have spoken; the metaphorical brooms are still out sweeping away the remaining detritus from Brexit and MP’s are left scuttling 
passed reporters and cameras.  Some of the political rats are choosing to jump from their respective ships, others opting to stay on board to cannibalise their captains before feasting upon each other. Needless to say, it has all manifested into an extremely low budget version of ‘House of Cards’ with sketchy production values and very poor acting.

Rant over, just needed to vent for a second. Back in 2014 I painted a set of political portraits entitled ‘The Machiavellian Boy Scouts and the Haphazard Art of Misdirection’.  Four of the subjects for these paintings David Cameron, Ed Milliband, Nick Clegg and Nigel Farage have all since jumped or have been pushed, politically speaking from the leadership of their respective parties. It seems that we are waiting for yet another head to roll. How long will Jeremy Corbyn’s finger be able to plug the dam and stave off the reality of a political drowning, only time will tell. I finished painting Corbyn’s portrait and thought it would be an ideal time to post a few images before the guillotine falls.




Monday, 4 July 2016

Work in progress





How long will Jeremy Corbyn’s finger be able to plug the dam and stave off the reality of a political drowning, only time will tell. I finished painting Corbyn’s portrait and thought it would be an ideal time to post a few images before the guillotine falls. If you would like to read more CLICK HERE




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Limited Edition Prints Ready to Go
21st June 2016

A new set of GiclĂ©e prints each in an edition of 50.











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I'm on Your Side?
10 June 2016




SMUG Magazine issue 2 has just landed on the shelves. It is such great fun to work on these cover artworks and I love playing around with some of Winchester’s local icons. For those of you who are not familiar with Elizabeth Frink’s 1974 sculpture Horse and Rider, I find its strange androgyny has always intrigued me. It sits very calmly in a beautifully crafted, yet non-committal way within the space it occupies in Winchester. In my interpretation I wanted to add the iconic Guy Fawkes mask and the accompanying text "I’m on your Side?" as a way of committing the sculpture to something other than quiet ambivalence.   


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Brace Yourself
18 March 2016




Original painting that I have been working on for Satire Magazine SMUG issue 1 front cover. ‘Brace Yourself’ acrylic on canvas 50cm x 40cm. It’s a very liberating process producing artwork for such an exciting new magazine.



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SMUG
12 February 2016








I am really pleased to be a part of the new Winchester based satirical magazine SMUG, working as a contributor with both my artwork and article writing.  CLICK HERE to read my article from the first issue of SMUG which I've posted on my blog. 




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2015


I have been creating a body of work for a solo show titled ‘You Think You Know Me’ which is being held at the Jewry Street Gallery, Winchester.

These are some images of two paintings I am working on at the moment. I am exploring the facades people establish around themselves, by using objects, totems and cyphers, as well as hand painted text to draw people closer to the canvas. 

The first painting is titled ‘A Hedge Fund Manager Tries To Attain Internal Peace’.

A Hedge Fund Manager Tries To Attain Internal Peace

This is a painting exploring confidence and assurance in one’s self, but I am interested in depicting a seemingly confident man overshadowed by coveted objects, calling into question his outward bravado and bravery. The title alludes to a professional person who could have everything, but still perhaps there is something missing which all of the trappings and apparels he surrounds himself with may never quite be able to satisfy.

A Hedge Fund Manager Tries To Attain Internal Peace

A Hedge Fund Manager Tries To Attain Internal Peace


A Hedge Fund Manager Tries To Attain Internal Peace


I still have some work to do on the painting, but it’s almost there. I have really enjoyed letting the brush strokes run free with this piece.


This painting is titled ‘The Virgin’.

The Virgin

I wanted to explore the nature of reflection upon opportunities that have passed by on the winds of time and also how an idle mind wonders to the stage of should of, would of, could of. 

The Virgin

The cat spiralling after what it needs is included to show the man that if you want something desperately and spontaneously and work with a degree of instinct you can obtain.

The Virgin


I am going to add a little more detail to the main figure, but not much more as I like the looseness of how the paint is feeling. I have worked out a small passage of text, but I am still disputing just where to include it so that it works best within the composition.  

Similar to the previous painting the scale of the main figure is disproportionate to the grandfather clock. The object’s dominance symbolises literal static time and reinforces the expanse of time that is over his shoulder.

As with the previous painting I am using a looser style of applying the paint although there are elements of rigidity in the background of this work as well as within the grandfather clock. I am very much enjoying the free motion of mark making on the canvas.