Lincoln Cathedral

Even though I am half Yellowbelly, and my Grandfather truly epitomised Lincolnshire, I had never been fortunate enough to visit Lincoln, until today.

A chance trip to see the living legend Brian Blessed for the second time led me to the new, exciting territory of Lincoln. With a Cathedral, Castle, Museums and a wealth of history, Lincoln sounded perfect ... and it was.

Though I had heard of Lincoln Cathedrals beauty, I was rather unprepared for its reality. Upon arrival I was greeted by an utterly colossal specimen of Cathedral, which makes York Minster look modest in comparison. A service was being conducted during our visit, so we were only permitted to visit half of the Cathedral, and steal slight glimpses of the remainder, listening all the time to a glorious chorus from the choir.

On the exterior Lincoln Cathedral is a vast mountain of stone, erupting from the cobbled streets to great heights. Impressive and powerful the buildings gardens and pathways lead you around the entire Cathedral, discovering various new gems with every turn, such as the Norman Cathedral. Initially  hidden from view, this strange structure looks alien beside the building in its present, predominantly Gothic, form, and resembles something you're more likely to see in St Guilhem le Desert or a Templar Church. Different periods of history are clearly visible across the Cathedrals exterior, showing how the building has evolved over the years and the events which have shaped what we see today, from ravaging fires, to building collapse and Henry VIII's protestant reformation.

Within the Cathedral lofty vaulted ceilings and chunky columns are aplenty, however it is clear that this Cathedral requires funding to maintain its magnificent architecture. Cracks in the ceiling and patched up plaster work hint at the mammoth task of maintaining a building like this, and the finance required to do so. These imperfections, for me, give the Cathedral a certain charm, however they are also a poignant reminder that these great buildings need your support, visitation and enthusiasm to ensure that they are preserved for future generations.

For more information on Lincoln Cathedral, or to plan your visit, head to:

http://lincolncathedral.com/

HR Giger: The Zeitgeist of the 20th Century

Today, my studio is filled with sadness as I mourn the passing of my hero, my inspiration and the greatest contemporary artist in the world; Hans Rudolf Giger.

I have managed to collect my thoughts, and compose myself enough to write a little about the artist who has changed  my life and inspired me more than I can say.

What Hans Ruedi Giger meant to me ...

Giger, to me, has felt ever present throughout my life. Having been exposed to his creations and imaginings from birth, this mysterious man has always been present in my life in some way. As my life has progressed, Giger and his fantastical images have only become more important to me and more involved in my life.

Around 10 years ago my interest and strange curiosity in Giger turned into a passion. As I began to buy his books, read his thoughts and study his images in more depth, I also began to fall in love with Giger's work. Throughout my early years as a developing artist Giger was a huge influence, and a relentless inspiration. For me, Gigers artwork set a president for what could be achieved with imagination, skill and time.

During my years at college I grasped every available opportunity to study Giger, write about his work, and incorporate him into my projects. I didn't mind that everyone thought I was slightly bizarre (they weren't far wrong!), I desperately wanted to spread the word of Giger and share my love of his talent with everyone I could!
 Around 6 years ago, during a study I was conducting on Giger, I contacted Les Baranay for advice on visiting the museum and seeing Gigers work. I received a very pleasant reply, and Les was kind enough to put me in touch with some wonderful people, who felt very passionately about Giger's work.
Unfortunately as a young student I was unable to afford the costs of traveling to the Museum, however, Les had put me in touch with a friend of Gigers in the UK, whom was kind enough to invite me to his home to see his collection,  and very generously gave me a Poster signed by the great man himself, acts of kindness for which I am eternally grateful.

The trip which has been in the making for over 6 years, to Gruyeres, Chur and Zurich, had finally been planned to happen this summer. After the recent events, this trip could easily be tinged with a bitter-sweet sense of tragedy, however, I hope I will undertake this trip with a sense of joy and celebration at the wonderful artwork which was given to us by Hans Rudolf Giger, through which he will live on forever.

In my studio sits a portrait of Giger I drew a number of years ago. I see this everyday, and it is a constant reminder of Giger, his work, all that he has achieved, and all that can be achieved. It inspires and encourages me, every single day, and will continue to do so. For a number of years years I have been planning a Giger tattoo, and during the last 6 months I have drawn 4 different versions of the tattoo. I have completed a fifth design, with this portrait which is so important to me incorporated, as a true homage to my hero.

Giger has remained a constant inspiration, throughout my life. He has made me strive to new limits, to push forth towards his benchmark of perfection, to allow my creativity to take control and not feel restricted by conformity. Giger has, eventually, made me feel confident enough to draw what I really want to; what I feel and what I love, rather than what I think I should, and what society expects. He has changed my life in a way he will never know, and his legacy; his work, will continue to enrich my life, and the life of millions, forever.

Thank you, Hans Ruedi Giger.

Sanctus Strix

I am currently working on a project which,for the time being, I have given the temporary title 'Sanctus Strix'. The theme of the series is one which is a great love of mine and a recurring subject matter within my artwork; Owls. Owls are something which I have fondly been studying for years, but with this series I intend to return to a concept which I began to develop during my university Degree collection, and build upon its imagery; Sanctus Strix, The Holy Owl.

The concept of the collection is a multi-layered one, with various messages to be interpreted by the viewer. I am incorporating my beloved halo imagery within the series, as a visual representation of both the divine and the damned. As ever the series is intended to be packed with symbolism, intentionally adding a sinister twist to each owl and giving them their own little personality. These symbolic features differ from bird to bird, but each has an underlying concept, again indulging in my love of giving animals intelligent, humanistic traits, in this case almost supernatural.

This series is intended to be an unabashed return to fine art. A highly detailed, delicately layered fantastical imagining. These undiluted pieces will undoubtedly be a labour of love, hopefully a successful one!

Taxidermy: A colossal collection

One surprise I wasn't expecting hidden within the decaying walls of Calke Abbey was the largest Taxidermy collection I have ever seen. Of an unprecedented scale, the vast collection was scattered across various rooms of the house. Ranging from mounted heads lining the walls of most rooms, to colossal glass display cases housing entire species. The collection reared its head at every turn, sometimes smartly lining a wall, appearing neat and well organized, more often though, housed in spaces far too small, or even haphazardly piled into rooms, barely visible.

Naturally the taxidermy specimens which interested me most were birds (unsurprising with my enduring obsession), and they were in great abundance. A huge variety of specimens ranging from Pelicans, to Sparrows and everything in between could be found, some faded and ravaged by time, others bright and beautiful.

The scale of the collection reflects nothing but sheer, unabashed obsession. In high society there has long been a fascination with zoology and scientific study, but the collection at Calke Abbey reflects years, and generations of collections, all under one roof. Despite the size of some of the rooms within the buildings they manage to feel mildly claustrophobic due to the number of paintings, skulls, display cases packed with taxidermy and countless mineral specimens on display.

Taxidermy has been a morbid fascination of mine for some time now. Our ancestors obsession and hobby of recreating the beauty of nature, and animal behavior through death really is a curious one. In the age of photography and global technology the idea of having to kill and preserve something to be able to revel in its beauty is an alien concept to many. Yet there is still something utterly captivating about observing the most beautiful creatures from every corner of the globe in a level of detail normally impossible. However, the ultimate irony of this is you are not viewing a wild animal, but an inanimate object.

Calke Abbey: Documeting Decay

For a number of years now I have curiously desired to visit Calke Abbey, after being exposed to its existence by Rhiannon Williams during a context lecture, and now a number of years later on a dark and dismal Saturday afternoon, I had my chance.

On approach it struck me that externally the house resembled a miniature Chatsworth. With its regimented symmetry, countless features borrowed from classical architecture and rolling grounds, on first glace Calke Abbey was not dissimilar to the most Stately homes which dot the hills of Derbyshire.

But looks can be deceiving, and within the house reveals itself as a magnificent labyrinth of rooms in varying states of decay and disarray. Once you've made your way past the warm open fires and greeting smiles, you can truly begin to appreciate and understand what sets Calke Abbey apart from the usual Stately Home experience. Each layer of history is left tantalizingly exposed, with the different stages in the houses history easily distinguishable. Some rooms remained full of furniture, books and everyday objects, in  a state of fading deterioration, others claustrophobically packed with an eclectic array of collections. The dank smell of damp hanging heavy in the air was an ever present part of most rooms, and an occasional cold chill, only enhanced the lonely, eerie neglect of the building. In one room however, the ethic of preservation not restoration, appeared to have been lost. The only room in the house to have been restored felt somewhat uncomfortable and bizarre in comparison to the ruinous, threadbare atmosphere of the rest of the house.

The element within Calke Abbey which struck me most, was the bizarre ever present reminder of death and decay, not only in the house itself but also in the vast collections on display. In virtually every room was not only taxidermy but countless skulls, horns and antlers. This unabashed, slightly grotesque display of death sat strangely beside portraits of the great and the good, giving the house an inescapably sinister atmosphere.

Visiting Calke Abbey provided a wonderfully inspirational insight into the decline and decay of the stately home. A visually exciting and inspiring experience I encourage any creatives, especially those with a slightly morbid constitution to pay Calke Abbey a visit, I doubt you will be disappointed.

Danse Macabre Store

I am very pleased to announce that the official Danse Macabre Designs Big Cartel store is live! The store has been specifically created to stock my cards, and other products that I produce over time. I am aiming to improve the design of the store over time, and integrate it with my blog, but being no web wizard this is 'work in progress', and for now you have a fully functioning, slightly dull, store.

So please give the link below a click and visit the store to see what products are on offer presently!

http://dansemacabredesigns.bigcartel.com/

(Please Remember that this is a brave new world for me, and to expand my product range I need your support. The more cards I sell, the more money I can invest in building the business, so dont think your support is unappreciated or doesn't count!)

Danse Macabre Facebook

We are now present in the world of Facebook!

After investing quite some time in building the Danse Macabre Facebook over the past few months the time finally seemed right to for the page to go live. Hopefully this means more frequent studio updates for those interested, and allowing my art to reach new audiences.

Check out the page here:

https://www.facebook.com/DanseMacabreDesigns

Bunch of Fives

The artwork for the 'Bunch of Fives' collection is finally complete, and has just been submitted to the printers. So as I wait with a mixture of eager anticipation and horrific nervousness to receive the cards, the time feels right to reveal all that Ive been working on, and the concept behind the collection.

The 'Bunch of Fives' collection is designed to be an exciting, different approach to expression and greeting cards. Each design is inspired by Traditional Tattoos and incorporates traditional imagery, as well as age old symbolism. Every card expresses a different sentiment, which is intended to be very personal, but versatile.

The initial idea for creating the collection came from the feeling that this art form and style rarely receives the attention it deserves, and that alternative people have no access to creative, different greetings cards which truly express what they think and feel, or which reflect their art, culture or personality. My aim in creating the collection was to design a range of cards which did exactly this, in a fun, honest way.

I feel really pleased with the finished designs, and the support Ive received has been absolutely phenomenal. Thank you all!

Below are the eight designs which I chose to send to the printers:

Studio progress: Bunch of Fives

The new 'Bunch of Fives' project is moving forward at great speed. I'm really pleased with how everything's coming together. Its been a very rewarding challenge to work in a different style to that which I'm accustomed to.

Many of the designs which I am currently working on have been developed from sketches in my 'Ideas book'. The 'Ideas Book' is a bible like book which I carry absolutely everywhere and is thoroughly jam packed with anything my head conjures up. This unholy relic has a vast backlog of work which needs realization, some of which is being developed now.

The idea factory has been working overtime of late (both day and night at times) so expect lots of weird and wacky things. I really cant remember a time when I felt more creative or was having more ideas, which is a truly wonderful thing, I just need considerably more hours in the day!

Brave new world ...

I have begun work on an exciting new project! The concept is a great little idea to keep me on my toes, and challenge myself creatively. It is worlds apart from the majority of my work in the studio, I don't want to risk getting lazy or complacent. The project revolves around themes which I am very interested in; age old symbolism and imagery, and Traditional Tattoos. The latter of which is something I never usually get the chance to incorporate into my work (and is a style Ive never drawn in before!). My aim with this project is to create something fresh, new and different, all to a very strict deadline. More to be revealed soon ...

Catacombes de Paris

The Paris catacombs are yet another morbid landmark which I had become eager to experience. And this experience was wholly unlike any other.
The vast network of winding tunnels which snake within the belly of subterranean Paris were originally created during the quarrying of limestone. The tunnels took on an entirely different life when the cities largest cemetery 'Cimetière des Saints-Innocents' was closed due to unsanitary conditions in 1780. The remains from within the cemetery were exhumed and bought to rest in the quarries, creating the labyrinth of the dead which can be seen today.

Upon leaving the quarries and entering the ossuary, one is greeted by the words 'Arrête! C'est ici l'empire de la Mort.' (Stop! Here lies the empire of death') carved above a pillared doorway, and the tunnels change dramatically. Suddenly, one is face to face with a skull. Staring with hollow gloom in greeting to the morbidly curious. I fully confess that I was left breathless with the shock of being face to face with death so instantly, and the full reality of the catacombs is, there is no escaping the countless hollow stares. Nothing can prepare anyone for the actuality of seeing the bones of six million people.

The chill of the subterranean took on an entirely new level in the 'Empire of the Dead'. My body and heart seemed to ache with the cold and terror of this incredible place. The experience of the catacombs was, for me, almost two hours of entirely silent reflective thinking. Slowly walking through mile upon mile of what were, people, was indescribable. The catacombs generated a mixture of emotions; terror, disbelief, horror and largely sorrow. My heart ached for these poor long dead, long forgotten people. And of course the inescapable thought that the fate of these people is the fate of us all.
In a sense the catacombs were very beautiful. Delicate, often artistic displays of remains carefully arranged with love and care. A wonderful, awe-inspiring monument to the people who rest there. The inscriptions which appeared in some parts of the ossuary were appropriately reflective and thought provoking, maintaining the atmosphere of solemn sorrow.

Upon my ascent to the surface I found myself shaken and weak. The experience had been incredibly overwhelming and had chilled me to the bone, both physically and mentally. I toiled wearily upwards until eventually I stumbled forth into the bright sunlight of a gai Parisian street, where life continued as normal.

'Ainsi tout passe sur la terre. Esprit, Beauté, Grâce, Talent. Telle est une fleur éphémère. Que renverse le moindre vent.'

Gala Dali

One beautiful aspect of the Teatre-Museu in Figueres was Dali's evident total devotion to his wife Gala.
During his lifetime Dali created many pieces focusing around Gala, she was not only used as a muse, but was often the entire meaning and subject of the art in which she featured. Dali described Gala as his 'basket of bread', she was his very life, soul and artistic direction.

The works on display in the Treasure Room in particular represented a tender, delicate portrait of a wife utterly adored. These passionate pieces are some of the most beautiful, detailed masterpieces I have ever seen and perfectly reflect Dali's love for Gala, and his unabashed desire to 'devour' her in equal measure.

Dali Teatre-Museu: A surrealist experience

I have long been an admirer of the work of Salvador Dali. His surrealist, symbolic works first began to interest me during school art projects as a young impressionable artist, and ever since his wonderful work has delighted me. For many years I have desired to see Dali's work up close and personal, and you cant get much more personal than the Teatre-Museu in Figueres. 

The Teatre-Museu, situated in Dali's home town of Figueres, originally began its life in 1849 as the Municipal Theatre. In 1919 Dali held the first ever public showing of his works at the Theatre, which was later reduced to a sketetal shell during the Spanish civil war. In 1961 Dali was gifted the ruinous Theatre to develop into his great Museum, and in turn Dali gifted the city with his wonderful art, infectious personality and a subsequent stream of visitors.

The Teatre-Museu is unlike any place I have ever visited. It is not merely a Museum, Art Gallery or elaborate homage. It IS Dali. The entire place and experience is deeply ingrained with Dali's character, personality, obsessions and his bizarre surrealist genius. The entire building is a strange labyrinth of elaborately themed rooms filled with a whole host of odd objects, sculptures and masterpieces.
Some of the most famed and recognizable of Dali's artworks are housed at the Teatre-Museu, and I can think of no finer setting than surrounded by items and objects which epitomize Dali. The optical illusions for instance, which are pure genius and thoroughly fascinating, can only truly be appreciated once one sees their great scale, and grand setting. Dali continued to expand and develop the museum until his death in 1989, when, at his request, he was buried in the Teatre-Museu, united forever with his last great achievement.

It was an absolute pleasure and a total privilege to get the chance to visit the Teatre-Museu on the drive to Barcelona, and for a few hours experience the eccentric and incredible world of Salvador Dali.

Eguzkilore

A curious sight in the Cathar village of Saint-Guilhem-le-Désert interested me greatly; a sunflower nailed to a front door was something Id never witnessed before, and sparked a great degree of intrigue. After extensive research I discovered that these were called 'Eguzkilore'.

Derived from an ancient tradition, the custom is scarcely mentioned or explained in texts, however it appears to have come from the Basque region, and is deeply rooted in French and Spanish folklore. 'Eguzki' (sun) and 'lore' (flower), (literally 'Sunflower' in Basque language), are actually dried silver thistles, and are traditionally believed to bring good fortune to the house which they adorn. In folklore it is believed that the Eguzkilore represents the sun and its power, which includes protecting a house during the hours of darkness, and warding off evil spirits, devils and witches. This tradition appears to be born out of Basque paganism, which existed in the Western Pyrenees before the arrival of Christianity in the region.
It is wonderful to see this old custom, which is clearly deeply rooted in Pyrenees tradition, survived today through the people of Saint Guillem la Desert.

La Sagrada Família: Exterior

La Sagrada Família, or to use its full name; La Basílica i Temple Expiatori de la Sagrada Família, is by far the most incredible building I have ever, or will ever be lucky enough to visit.
Originally begun in 1882 the Sagrada Família was a church on the outskirts of Barcelona with the grand ambition of replacing the Cathedral, located in Barri Gotic, as the focal point of faith in Barcelona. The original architect Francisco de Paula del Villar resigned after just one year, and his boots were filled by Antoni Gaudí, who replaced the Gothic revival designs with something altogether different. The museum below the Sagrada Família provides a detailed insight into Gaudi's architectural designs and how these developed with time, becoming less traditional and far more visionary, unique and other worldly.

The Sagrada Família has an organic quality which is unlike any other I have ever seen in a building. The entire vast structure appears to have erupted out of the earth, and is continuing to do so. The sheer scale of the structure is one which is simply impossible to absorb and digest. An eternity could be spent dwarfed in awe of the lofty towers protruding high into the sky, but not until you have journeyed to the top of one of these towers can you truly appreciate the grand scale on which everything at the Sagrada Família operates. Journeying 65 metres to the top of the Passion facade tower and walking the 400 spiraling steps back to earth was certainly a knee knocking experience, but an incredible one.

With an estimated completion date of 2026 (just in time for the centenary of Gaudi's death) the Church is a hive of activity. Watching the Sagrada Família grow before your eyes is a curious experience. This is by far the most impressive and complex construction project I have ever seen, and watching the construction workers and skilled craftsmen working tirelessly to complete this vast monument gives a glimpse into the past and how people watching the construction of monumental buildings such as Barcelona Cathedral, York Minster or The Notre Dame must have felt.

I urge anyone who has the opportunity to visit the Sagrada Família to do so, it is an experience you will never forget.

 

Gargoyles and Grotesques

Gargoyles and Grotesques were in great abundance in both France and Catalunya, but Barri Gòtic offered some of the finest and most unique grotesques I have ever seen.

I had long looked forward to visiting the Barcelona district, and wasn't disappointed! Barri Gòtic's narrow maze of streets and alleys were packed with churches, restaurants and antique dealers. The districts beautiful architecture is wonderfully intricate and seemingly endless. The detailed fantastical figures which adorn most of the buildings are full of character, and seem to carry an entirely unique personality which is utterly delightful.

Norwich Cathedral

A spontaneous visit to Norwich Cathedral this week provided me with the opportunity to view some incredibly interesting and inspirational ecclesiastical architecture. Norwich's cathedral is famed for its beauty, however having never visited East Anglia before I was keen to experience the charms of the city.

The Cathedral certainly has an eventful history. Began in 1046, the Cathedral was built on the site of two Saxon churches, but after completion it was struck by lightening, damaged in riots, lost its spire to high winds, had works halted by the arrival of the Black Death and was defaced and partly demolished by a Puritan mob.

The building which stands today is certainly an impressive piece of ecclesiastical architecture, with the second tallest spire and second largest cloisters in England the scale of the Cathedral is as grand and pompous as its decorative details.
My favourite part of the Cathedral was its moody cloisters encircling a grassy courtyard. The beautiful stained glass windows look out to the insular labyrinth, while the graves of the dead pave the floor and their coat of arms line the walls, faded and forgotten.

Corvus

Crows have long been an artistic obsession of mine and are amongst my favourite subjects to draw. I have always felt a certain affinity towards crows. I admire their intelligence, their role in history and folklore and sympathize with their undeserved historical reputation as a bad omen and sign of evil.

In an attempt to capture the wonderful characters and personalities of my favourite bird I am currently working on a series crow portraits, in which each crow represents a different emotion or character trait. There is something about this bird which I find absolutely delightful, and I never fail to smile whenever I see a crow, and I never tire of drawing these incredibly beautiful creatures.