Dracula Returns to Derby - 101 years and Counting

Over recent years Derby has done a great job of celebrating its ties with Bram Stokers most famous novel ‘Dracula’ whenever possible. Much fanfare has been made about the stage premiere of Dracula at Derby Hippodrome in 1924 in recent years. And why not? Every ounce of culture and history should be celebrated however and whenever possible.
And so Pickford’s House Museums new exhibition ‘Dracula Returns to Derby - 101 years and Counting’ continues this theme of embracing Derbys dramatic gothic past.
The exhibition due to last until May 2026, consists of 3 rooms examining different aspects of the Dracula legacy.

I decided to pay the exhibition a visit on its first day of opening. My motives must have been quite clear when I arrived at Pickford's House as a staff member looked me up and down and after a quick glimpse of my Devilish Presley 'I Created a Monster' tshirt and inverted cross she quickly said 'Here for Dracula? Upstairs.'. I must be becoming a stereotype in my old age.

So up I go, past the history of a home to the realm of paper bats flurrying around the ceiling lights as if seeking some tasty insect morsels, flickering candles and the promising greeting of s vast linocut of Bela Lugosi.

The first room delves into the world of 1920s theatre culture, of Hamilton Deanes stage adaptation of Dracula, which was the first ever authorised adaptation of Dracula. Its world premiere at Derbys Grand Theatre exposed the story to high society and a whole new world for the first time.
Hints of Pickford houses former life as museum of costume can be seen as sequinned flapper dresses sit alongside old theatrical posters and items such as Hamilton Deane's cane.

Cabinets are filled with items such as correspondence and documents of Bram Stoker, Bela Lugosi's signature and a photo of his time treading the boards as the Count at Derby Hippodrome in 1951. A reprisal of his 1931 cinematic role that was the breakthrough of his career.
Different Dracula related publications are an interesting sight to see, my favourite of course features the face of my favourite Dracula; Christopher Lee. 

This familiar face who played Dracula numerous times over a 22 year period transitioned nicely into the next room of the exhibition, and my personal favourite. Dracula on the big screen, specifically Hammer Horrors adaptations of the novel fill this space.

With a timeline of Hammer adaptations through from (The Horror of) Dracula (1958) right through to The Legend of the Seven Golden Vampires (1974) and a brief blurb about the history of Hammers Dracula for those less familiar with the absolute cinematic classics.
I was incredibly thrilled to see so many pieces of Hammer history on display in this small room. Original posters and promotional material, which is both tragically rare and depressingly expensive to acquire, meaning it has been pushed to the realms of museum pieces.
The AD1972 poster I happily decide I’d sell body parts to own. But with decidedly few organs to spare I resigned myself to just enjoying it in the moment, surrounded by various equally rich horror imagery from the Hammer archives, some set photographs, others foreign versions of posters. Its always great to see the artwork (and title) variations of international releases. And despite owning the book 'Art of Hammer' which features many poster variations there are still some on display which are new to my eyes. The piece de resistance, stood surrounded by scripts was the actual cape worn by Sir Christopher Carandini Lee in the Hammer productions of Dracula. An artefact alone worthy of visiting the exhibition for.

Id be lying if I said I didn't have an overwhelming urge to kneel down and worship this brooding great black cape, but I resisted the temptation, reluctant to look like a lunatic. But that is exactly the sort of reverence it awoke in me, quite unexpected but wholly honest. I imagine its how a christian may feel facing the Shroud of Turin. Sheer awe.

In that moment the simple but iconic piece of costume represented so much. My favourite actor of all time; Christopher Lee, all his movies, Hammer as a franchise, 50's, 60's and 70's Horror (which for me is the pinnacle of my favourite genre), of the dark, macabre and gothic. So many of the things which have shaped me since I was just a teenager and made me who I am today.
I found it hard to walk away from the cape and its great presence, but eventually managed it (though I confess to returning twice more for another glimpse before leaving the museum.)

In the third room waited something really rather different to the previous cases rich with Dracula history. In a way, the result of that history, a natural way for Dracula to progress into todays society and culture. 

Local sculptor Liam Brandon Murray's work is the focus of the final room. Murray creates, by his own definition 'wearable art'. These huge pieces are almost a 3D collage of all things considered 'gothic' in todays conception of the word. The huge ballgowns covered in skulls, gargoyles and religious iconography wouldn't look out of place in a steam punk masked ball.
Excess and extravagance exudes from every fibre of these outlandish creations. Initially one would think it impossible to physically wear these gowns, yet the video in a loop 'Brides of Dracula' proves this incorrect, however their practicality is clearly outweighed by their insane aesthetic. 

As well as clothing there is a large monochromatic throne, a doctors bag (which having just read the Stephen King novel 'Gerald's Game' conjured up some of its stranger scenes) and what I couldn't help but refer to as 'the disco coffin'. A life size coffin sculpture which pulsed with coloured light and stained glass in a strangely hypnotic way. 

This room of the exhibition and the pieces on display there essentially reflect an entire subculture which was spawned by Victorian gothic fiction and today forms the modern idea of 'goth'. Almost a cult, all be it one with many faces and personalities, and in more recent decades often a little more style over substance. And yet this exhibition gets back to the roots of gothic, to its literature, poetry, drama, mystery, with a dash of flamboyance. It spans the style and the substance behind the cult of Dracula.

Its always nice to end an exhibition with a little inspiration. And the selection of Dracula themed origami was exactly that. Never in my life had I considered making an origami bat, but I left Pickford's House Museum feeling it was now absolutely essential to my existence.

To plan your visit to the exhibition click here!

Alice Meille-Durose

La Specola - Florences Wax Wonderland

When I first found out about the Specola Museum in Florence it was a great revelation, and felt like a missing puzzle piece had finally been found. Some years ago I purchased the Taschen book ‘Encyclopedia Anatomica’, a beautiful publication filled with amazing images of anatomical, medical waxworks. I bought the book after visiting the Montpellier Museum of Anatomy in 2018 and struggling hugely with the fact that photography was forbidden within the great hall. These images were eventually to be my memento to a place I had waited years to visit and would probably never see again.

 
Fast forward a number of years and I’m informed about the Specola and it’s incredible collection of anatomical waxworks, Immediately I thought of Montpellier and my book. I rushed to look at it for reference, and to my utter surprise the vast majority of the images within its pages were actually taken at the Specola! I had never realised this amazing fact, but as soon as I did I knew I must visit the Specola.

 
Sadly it turned out the Specola was closed and had been for a number of years, and nobody seemed to know if it would ever reopen at all. Patience was all I had. Fortunately in spring 2024, the moment I thought would never come did! And the Specola Museum reopened to the public after much refurbishment, and of course Covid. 

I took the opportunity during my very next trip to Florence to visit the Specola, in particular their anatomical waxworks. 

 
Accessible by private tour only, the rooms of the collection are not open as part of general access to the museum, so if you’re hoping to visit then plan ahead. Booking isn’t possible and only a limited number of tours and spaces are up for grabs each day so don’t leave it to chance! I went to the museum at opening time to book on a tour later that day, and during our tour people were being turned away who hadn't taken the same precaution, so its definitely a good piece of advice.

Arriving early to take in some of the other sights of the museum before the last tour of the day, there is an incredible wealth of delights on display. A huge collection of minerals and gems from all over the world, an amazing taxidermy collection with some truly fascinating specimens on display and an incredibly unique display of wax dioramas, ranging from the cellular structures of plants to moral scenes of death, decay and sin. But each of these captivating sections of the Specola deserve their very own blog. But this blog is devoted to that macabre wonder of the anatomical waxworks ...

La Specola is the oldest scientific museum in the world. And when it comes to the wax works this museum is so rightly famed for, science is the name of the game. The anatomical diorama on display were commissioned as aids for teaching medicine in the 18th and 19th century. The detail in these models is absolutely unparalleled, with every vein, muscle and tendon crafted with loving accuracy. The grizzly reality of achieving this is that hundreds of bodies had to be dissected and observed to create just one model. And some models were even built up around bones to ensure accuracy.

The techniques used to create these intricate wax models are all but lost today. A skill so specific, but also groundbreaking, that it was seemingly developed and extinguished in the blink of an eye. This unfortunately means that conservation on the models is difficult, if nigh on impossible.  

The goal of the groundbreaking Florentine school of wax was to end the necessity for cadaver use and dissection when teaching anatomy to medical students. To essentially replace corpses with these wax teaching aids, as many of them as could be created. The visionary whose brainchild this was, Felice Fontana, had the patronage and support of the Grand Duke in his mission. Before long the specimens created could be found across Europe, and indeed the vast collection at the Montpellier Conservatory of Anatomy were actually created at the Specola (my Italian is by no means good, but good enough to understand when the guide told us this and I thought 'Of course they were!')

Today we are left a legacy of carefully crafted creations which could never fail to provoke response in those fortunate enough to visit. At times harrowing, shocking, distressing, but also thought provoking. Morality (and the future of ones soul) and Memento Mori were great themes and obsession of the 18th century across Europe. And whether intentional or not, these wax models are imbued with that in every fibre of their creation. To stare at tangles of tissue, bundles of nerves and networks of veins strewn across bone and muscle, the contemplation of ones own physical presence and fragile physiology cant help but surface in the mind. 

La Specola is a fascinating place where you'd be forgiven for thinking time had stood still. The entire aesthetic is a snapshot of the time which caused the creation of these models. When precision, craftsmanship and excellence were valued above all. Hauntingly beautiful models are housed in fine traditional wooden and glass cabinets, where the ageing glass hints at the years these displays have seen. And occasional white curled wigs starkly remind us the dead faces we observe through the mists of time were Georgian folk, condemned to the immortal legacy of being a waxwork. While a noble intent, but all the same a less than noble end for the soul we see before us.
The detailed drawings filling the walls made me wish I could afford the luxury of time in this incredible place. As an artist the possibilities are endless, as Felice Fontana truly intended.

To find out more info and plan your visit to La Specola click here!

Sacro Bosco di Bomarzo

Ever since I first spied the image of the gaping mouth of l’Orco and his eyes, relentlessly staring, demanding you search your soul, I knew that Sacro Bosco was an incredibly special place. For many years I’ve dreamed of and hoped to visit this incredible garden, and finally 2024 was the year.

Sacro Bosco lies nestled in the hills of Lazio, in a remote and unassuming area. The charming village of Bomarzo is perched on a hill directly over the garden, and is crowned by the castle of Orsini, built by one of the most powerful families in central Italy during the medieval period. This fantastical ‘monster garden’ was the brainchild of Pier Orsini, Duke of Bomarzo, who together with his architect dreamed up this bizarre wonderland where he could stroll from his castle directly to this incredible playground of men, monsters and Animalia. 

Commissioned in 1547 this oasis of oddities was more than just a strange sculpture park. It was a philosophical journey which Orsini wanted to take humanity on. A visual, mental and emotional voyage through art and nature, and as a self confessed worshiper of art and nature, who could resist such a proposition?

Upon entering through a crenelated archway that looks as old and craggy as time itself, you are met by two Sphinx brandishing plaques. These whimsical women ponder;
‘Tu ch’entri qua pon mente parte a parte e dimmi poi se tante meraviglie sien fatte per inganno o pur per arte’,
Roughly meaning in English; 'You who enter here, put your mind to it piece by piece and tell me then if these wonders were made as deception or art' a thought provoking entrance, and one which sets the philosophical tone of the garden. 

The dappled shade kindly provided by the foliage is welcome in the afternoon heat, and soon the sound of rustling leaves is overpowered by that of waterfalls and a stream gently flowing secretly out of view. When the garden was first completed the sound of water must have been an ever present companion on any walk in this wonderland. Fountains are at every turn, and the complex of pools and flowing water must have been quite a feat of engineering as well as ingenuity. Now many are dry and mere hints of their former fountain glory, but in some way the imagination of seeing the invisible feels an essential part of this place.

Quickly following the neat paths laid between the trees and shrubs you are greeted by the grotesques which Sacro Bosco is so famed for. A gaping mouth with the weight of the world on his mind 'Proteo Glauco' a Greek god is a small taster of what is to come.
Through the foliage glimpses begin to emerge of what feels like a lost ancient temple. Giant faces peek out, and upon descent to a lower level the battle of Cacus and Hercules is revealed, huge and powerful. These muscular giants tower over you in a tangle of power and strength. Looking at their physique I couldn’t help but think of William Blake’s incredible approach to human physiology, huge chunks of writhing meat fueled by pure emotion. Did Blake ever see images of these creations? I know not. But the similarities in style are undeniable. 

The beauty of this place and it’s character is constantly developing and evolving. Semi ruined tomb like facades fade into nature. With carvings becoming unworked stone, and grotesque faces peering at you from the mossy floor. Flawless integration between human creation and nature only adds to the mystery of this place. What has been manipulated? What has always been? It seems a  blurred line you simply shouldn't try to define. 

The lower level of Sacro Bosco feels like some long forgotten relic, rediscovered crumbling.  Semi-ruinous and long lost, an Indiana Jonesesque wilderness. Then the illusion its gently shattered by Casa Pendente; the leaning house. Any unobservant, uninterested passer by would liken this Torre to Pisa or some other structurally unsound leaning building. Only within seconds it was clear this place was perfectly structurally sound and had been built this way. On a great, disorientating lean. As Iacopo so aptly summed up to me 'Have you been inside?! Its horrible you have to get out as fast as possible!!'
And this set the entire tone for the rest of the gardens journey for me, a total challenge to the senses ...

Things went from calm, quiet wonder to the outright bizarre, fantastical, outrageous as you ascended the next level of this utterly other-worldly place. An incredibly grandiose processional way lined by huge urns guides you down to Neptune, lounging nobally over a moss encrusted mound. A once magnificent fountain now silent and dry. He is flanked on both sides by wonders, peaking through the foliage, temptations pulling you left and right. Statues became more concentrated and compacted. The senses became saturated. Spectacles surrounded me. Elephants. Dragons. Gods. Monsters. A riot of sculpture, unsure which way to turn next and what you would see. The possibilities seem endless, and the wildest thought realised right here in stone.

And finally there he sits, nestled in amongst this carnival of surreal madness, Orco; The Ogre. The Mouth of Hell. His eternal gape has a strangely welcoming quality. His eyes fixed on you, beckoning you to join him in the most intimate way. He stands over the empty space beneath, commanding, dominating, imposing. Orco's inscription today is ambiguois; 'Ogni pensiero vola'; 'All thoughts fly away'. Perhaps a freeing of the mind and ones cares. But his message wasn't always so carefree. The original 'Lasciate ogni pensiero voi ch'entrate'; 'Abandon hope all ye who enter' was a much more ominous greeting.
Its easy to see why Orco has become the unwavering image and symbol of Sacro Bosco. He could produce a hundered different reactions in one hundered different victims. And in that alone he represents the entire purpose for the gardens creation and the psychological journey it was designed to take visitors on. Entirely personal and unique. A voyage into the unknown, on which, hopefully, every lucky participant will enrich or change their world view or life in some way.
It is interesting that to this day the true meaning and origin of the garden is still discussed and debated. Nobody can quite seem to agree on what statues mean, which god or goddess they represent, and ultimately what Orsini wanted to accomplish with the construction of this otherworldly place. Whatever Count Orsini was attempting to create, one things for certain, his legacy is this incredible garden. An eternal paradise of the fantastical and bizarre. Encapsulating so much culture, mythology and mystery its really not easy to wrap your head around exactly what you're seeing. But I strongly suspect, Orsini would be rather happy with that fact. 

The 'Monster Park' was the sort of place I could linger every day of the year and never tire for a moment. It has a quality, a magic, the type which permeates every cell and enchanted me utterly, as an artist and a photographer. But claps of thunder and a rapid descent of threatening storm clouds meant a hasty retreat was required. And I couldn't help but feel Orco had spoken, banishing us and keeping his secrets to himself for another day ...

Death Begets Death - A Fungi Frenzy

Fungi have been one of my great passions in recent years. I have enjoyed photographing fungus whenever I happen upon them and continually challenge myself to improve at identification.
But one thing which I am always striving to do is paint and draw more mushrooms.

One day in mid 2023, in what must have been a particularly surreal day in some strange corner of my mind, I had some rather interesting ideas for a new artwork series.
The series of thumbnail sketches which ensued grew increasingly odd. Things growing out of skulls has long been one of my favourite subjects for art, as pieces such as 'Time Enough For the Earth in the Grave ...' probably suggest.
This time the concept was a little more literal. 

By the time my mind calmed down I was left with a series of frenzied scribblings of skulls and their new found fungal friends. Mushrooms growing from bone in a whole host of weird and wonderful ways. Erupting from eye sockets, clinging to femurs, blossoming from jawbones, creeping across cranium, nourished from fragments.
The whole idea of life springing from death, in the most literal, visually surprising way. 

And yet, the sinister twist of the series is that every fungus featured is poisonous. So the strange, unsettling message is infact 'death begets death'. But the meaning is only fully appreciated if you know your mushrooms of course!

The series is currently ongoing as ideas continue to take shape and a life of their own. And with no shortage of fungi to feature who knows when it will end ...

'Twilight Tales' - The creation of a concept

When Iacopo Meille asked me to collaborate with him on the cover of his first solo EP, the answer was, of course, an enthusiastic 'Yes!'
We began the process with me sending images of various past pieces of artwork to Iacopo for him to judge what kind of cover it might be possible for me to create, and potentially spark some ideas.
Quite quickly he identified a past piece which spoke to him and resonated with the songs and their atmosphere. 

This artwork was 'Strawberries and Cream', which was an interesting piece in particular for Iacopo to feel a connection to. I created the painting in 2020 during the pandemic as a reaction to a personal research project I had begun into English graveyards and their history. During the work visiting hundreds of churchyards and cemeteries I unexpectedly discovered in many of them, growing between the graves were; wild strawberries.

This sweet, unexpected sight was such an interesting juxtaposition between life and death that I went back to the studio and designed 'Strawberries and Cream'.

In a world where at the time in the midst of covid death had become a global fixation (thanks to oversaturation in the media), it was important to remember that life surrounds death.

For me, 'Strawberries and Cream' represented that even in the face of death there was beauty and hope, if you dared to look for it. And of course one of my favourite ideals; that from all death comes life.

At around the same time, over 1000 miles away, Iacopo was having his own creative reaction to the global situation and covids impact on his life. During this isolated time he began writing the songs that would form 'Twilight Tales'.
The idea of these two reactions to such an unprecedented, life changing event coming together was immediately appealing. Both created entirely independently, yet somehow echoed the same sentiments, like some sort of inexplicable fated union.

After working through the composition together and discussing important themes within the songs that should be featured on the cover it was decided that the basis for the artwork would largely be the original composition of  'Strawberries and Cream', but with some additions essential to the subjects of the songs. The theme of mortality in the original painting already captured the spirit of the songs, in particular 'Just Breathe', which with lyrics talking of 'piles of dust' you couldn't get a closer interpretation. But some small changes would truly tailor the painting to the songs in a way which they deserved.

The feather is one of the most important additions, inspired by 'Feather in the Sky'.
While other elements may be more subtle, they're just as integral to the identity of the piece. The Death Head Hawkmoth was chosen for obvious visual and symbolic reasons. The broken glass was requested by Iacopo, relating to 'Have You Read The News?' and was based on ancient Roman glass discovered at an archaeological site at Fiesole. 
Mushrooms were also a specific request, and one I'm always more than happy to feature in any work.
Ensuring all these components worked well together was essential and took considerable planning which was worth every ounce of deliberation.

Adding the title and ensuring it had the right amount of emphasis within the cover was a particularly tricky element. After much sketching and pondering, suddenly the perfect solution presented itself, as is often the case; quite unexpectedly.
Scrolls, parchment and crossed bones were all rejected in place of a single femur. The moment I saw the arrangement sketched out in full I knew it was a perfect fit and enhanced the composition way above 'Strawberries and Cream'.

When painting 'Twilight Tales' I placed particular pressure on myself to ensure that it was a big improvement on 'Strawberries and Cream'. I was driven by the idea of creating an embodiment of the music Iacopo had created, but also to create a superior artwork. I wanted 'Twilight Tales' to better 'Strawberries and Cream' in every way. Better colour representation, more accurate textures, finer details. I have always prided myself as an artist who wants to constantly improve and learn and this was finally my chance to prove myself.

I couldn't be more proud to have collaborated with Iacopo on this project and bringing to life a visual embodiment of his creation has been a total honour. This unlikely union of two different ways of coping with a global pandemic has fluidly formed a cohesive piece of expression which, in my opinion, is far better together than apart.
'Twilight Tales' is now available for streaming on all digital platforms
Spotify.  Youtube, Deezer.

Rollright Stones

For some time now I’ve wanted to visit the Rollright stones in Oxfordshire. Ive watched Documentaries on the stones, read about them and seen lots of photos, but I hadn’t yet had the chance to pay them a visit myself.
Because 2020 has been the strangest of years to say the least, there's lots I was planning to see and do that probably has little to no chance of happening this year.

However, not one to be easily defeated, the Rollright stones are in a reasonably comfortable driving distance to visit in a day (a 200 mile round trip for me). So, I decided seeing the stones was one goal I wasn’t willing to let slip away this year and headed down to Oxfordshire on a sunny August day to wander the Cotswolds and see these magnificent stones.

One of my main concerns (which led to hideous indecision right until the final moment when I jumped in the car) was how busy the stones might be, but my concerns weren’t met with too much horror when I arrived, and found only 4 people around the Kings men. During the few hours I spent at the stones, there was a steady flow of people coming and going. Seemingly most of them just passing by on the busy road running between the King Stone and the rest of the complex. Most appeared to just drop in for a brief look and head off again, it wasn’t until past midday when a huge group arrived with tables and chairs to have a picnic I decided it was time to move on as things were getting too busy for my liking.

The story of the stones echoes that of many stone circles in Britain. Living souls turned to stone in a series of dramatic events. Often dancing and merriment is involved, but on this occasion, a witch and a would be king falling foul of spells and supernatural form a truly fascinating spectacle.
The folklore which has grown up around Bronze Age and Pre-Historic sites is incredibly interesting and truly demonstrates their relevance and importance in society through the ages, even after their original religious and ritualistic meaning had been lost, they maintain a strong position within the community, and although their narrative may have changed over the centuries their significance has not diminished. 

As ever when I visit these sites I find myself filled with wonder. And leave with far more questions than answers. What took place here thousands of years ago? What did this site mean to the people who built it, and to the generations that followed? Bronze age Britain is my great historic passion and has been for many years. Partly because of the different and fascinating world that existed at that time, and partly because we will never know all of the secrets and mysteries of that ancient time. Only echos of this ancient past remain, some above ground, others below. Everything else is lost to time, eternally.