'Seul avec la Nuit' - HR Giger in Nantes

Never one to miss the chance for a Giger pilgrimage, I was thrilled when the opportunity arose to visit the Giger exhibition in Nantes; 'Seul avec la Nuit'. It was a rare chance to combine two of my favourite things; Giger and France, so I grasped the opportunity with both hands ...

The exhibition is housed in the former LU biscuit factory (which as I discovered was a great source of pride in Nantes and an important part of the city's heritage). Originally the factory was built in 1885, and was a landmark of industry and French produce. Now the building stands as a testament to that history, in its new guise as the National Centre for Contemporary Arts; 'Le Lieu Unique'. The exterior of the building is grand, with a lofty tower beautifully painted and elegantly faded. The new additions to the LU relic; huge doors and windows have a distinctly modern, industrial appearance, with surrounding plaster left rough and raw around the new additions and huge neon signs guiding visitors like moths to a flame.

Inside the exhibition a wealth of strange otherworldly noises and Swiss German tones can be heard filtering through the huge hangar-like space. First you are greeting by a number of early ink pieces, sculptures such as 'Birth Machine Baby' and 'Kofferbaby' and the ever epic dining furniture designed by Giger, which is the thing lottery win dreams are made of. As you travel around the central cube, which houses artworks both inside and out, you instantly get an insight into Giger's mental creative process, and the different phases and subjects of his work.

The exhibition has a great range of Giger works on offer, from polished sculptures and mammoth masterpieces to conceptual scribblings and early inks. Giger's career is covered thoroughly by the pieces on show, and for those requiring a little more annotation, videos are projected onto the wall featuring biographies, interviews, Gige'rs own behind the scenes footage from 'Alien' and a wealth of photos of the late great master.

The layout of the exhibition itself was an interesting concept, with a huge pentagram spanning the floor of the central cube. This shrine-like setup certainly made me worship at the altar of art. Sitting within the centre of it all is Giger's design for Alien 3 come to life. The colossal sculpture perfectly captures the mixture of elegance, erotica and horror that Giger wished to create in his new improved creature and certainly seemed to be a popular focal point with passers by.

It was nice to see plenty of pieces on display which were not part of the Hamburg exhibition, and are not at Gruyeres. Every Giger pilgrimage for me is tinged with a sense of excitement and anticipation regarding which works will be on show and which I will be seeing in the flesh for the first time. My particular favourite first time viewings were some 'New York City' series pieces, 'Homage a Böcklin' and 'Satan II'.

There are many of Giger's finest biomechanical marvels available for your viewing pleasure at the exhibition until 27th of August 2017.If you have the opportunity to visit the beautiful city of Nantes and soak up some superior Swiss creations, don't pass up a visit to 'Seul avec la Nuit'.

Books; The Bizarre and Beautiful: 'Demons: Visions of Evil in Art'

Recently, I decided to begin some blog posts paying tribute to something I value incredibly highly in life; books. Over the years books have shaped me, my knowledge and my artwork. So it felt fitting to pay homage to some of my favourite books in my collection and give them the recognition they deserve ...

For a number of years 'Demons: Visions of Evil in Art' has been one of the most important books in my collection. It has virtually been my bible, being carried across continents and often a permanent feature in my bag. It has been an important resource for information and inspiration on a number of different projects, and is often my go to guide on a manner of matters from Demons themselves to infernal and apocalyptic artwork in general. This book is an excellent introduction to Demons in religious artwork and representations of evil, sin and death throughout art history. It gave me a good base knowledge on Demons and the large number of artworks featured means that the book contains a wealth of reference material from various cultures and periods in history. The book would certainly provide anybody interested with a more than adequate introduction to the darker side of religious art and to many important artists within the genre, such as Hieronymous Bosch, Fra Angelico and Gustarve Dore.


The book more than adequately outlines the religious background and context needed to fully understand the in depth history and origins of these devilish demons. Christian theology is largely the focus of the book, and when is comes to subjects such as damnation, sin, apocalypse, death, punishment and hell, no stone is left un-turned. The illustrations range over a huge time period and in many different forms and media, from early woodblocks, frescos, illuminated manuscripts and altar pieces to epic oils, masterpieces by the great masters, etchings, sculpture, architecture and much more. 

My favourite thing about 'Demons: Visions of Evil in Art' is just how far it goes beyond the surface of Demons in art. In the modern world you'd be forgiven for thinking immediately of a kitsch halloween costume depiction of the devil, but in reality the depiction of demons is both ancient and complex, having virtually its own artistic genre, with different periods is history presenting manifestations of evil in a different way. 
Historically imagery was the main method of communication to the masses, as many were illiterate and unable to read religious texts themselves. The visual communication of the church was a hugely important part of early Christianity. Representing evil as a truly terrifying thing was absolutely essential. Imagery needed to instil fear and insight obedience, as it was accessible to all and the best method of propaganda to live a virtuous life.These Hellish visions live on today, as reminders of a time when fact and fantasy were blurred and the Religious landscape of the world was far different to today.

'Demons: Visions of Evil in Art' provides a fantastic insight into a world where beasts and Demons awaited to torture you for every misdemeanor, death stalked and waited around every corner to cut your existence short with some plague or pestilence and penance to God was every mans only hope of salvation from sin ...

Demonology Reworking ...

A couple of years ago I began work on my own Demonology. To indulge in a little change and experimentation I decided to complete the works in pigment liner on white paper, a departure from my usual mixed media (or biro) on coffee stained paper. Once the pieces were complete I felt something was a little lacking and I hadn't quite achieved what I wanted. The designs themselves I was happy with, just not the end result. The pieces went into a drawer and remained an unitched scratch ... Until now.

After completing my Tarot series I began tying up some lose ends and began to consider which artworks and ideas Id like to revisit before my next mammoth series began. One thing I had always wanted to rework and do justice was my Demonology, and the time felt right.

I began reworking my Demons alongside researching symbolism for my next big series in an effort to balance research and practical work. I decided to approach the series from an illuminated manuscript angle, using rich, decadent colours, gilding and hoping the end result wouldn't look out of place in a medieval religious text. I'm currently striving to improve on my original designs in any way possible and make my new Demonology series a triumph to be proud of ...

Tarot Greeting Cards

I'm pleased to announce the release of a select number of my favourite designs from my recent Tarot Major Acarna series as greeting cards! I chose the designs I felt were most striking, unique and slightly strange to go to print. There are 12 different designs available giving you the chance to express a wealth of sentiments, support or just purchase a pocket sized piece of art.

Check out the Tarot Greeting card range now over at ...

https://www.etsy.com/uk/shop/DanseMacabreUK

Spital Cemetery

During a civilized Sunday out in Eyam the decision was made to come back home via Chesterfield, namely Spital Cemetery. Spital Cemetery was something that had occupied our minds for a number of months, and for good reason. The old Church within the Cemetery grounds is for sale, and we have long dreamed of living in a Church, restoring it to its former glory, saving the building and worshipping its beauty. But due to timing, finances etc, my partner and I had agreed that a visit would be a bad idea and risk us falling in love with the place. Yet against out better judgement we found ourselves rolling through the gates in my Morris Minor and parking at the bottom of an embankment peppered with graves.

First impressions were of a sprawling hillside with two quite distinct personalities. To the right is a neat, compact modern style cemetery, with tidy rows of small grave stones, all relatively new and shiny, adorned with flowers, ornaments and the like. To the left however, upon the rising hill towering lofty trees and a ragged meadow of grass stretch out across the bank, with graves and monuments protruding forth every now and then, some temptingly hidden from view by the rippling hillside. The left had a far wilder, more ancient temptation, and its winding paths create a certain intrigue to dig a little deeper. So I did ...

Picking my way up the hillside, I realised all manner of wild flowers, trees and wildlife have almost claimed the cemetery for their own, with Ivy slowly eating gravestones with its grip of greenery, tree roots erupting mercilessly through stone and a carpet of pine needles and autumn leaves lingering on to join those below. The afternoon sunshine filtered through the trees in mottled drabs, falling on graves and wildflowers, then proceeding to dance with the wind. It quickly became apparent what a tranquil, idyllic space the Cemetery is, with the dead silent as ever in their eternal rest. 

At the crown of the hill, surrounded by a whole host of graves was the Church. At first it emerged between the trees, peaking out in faint glimpses, until it rose proud and bold in a clearing. Its Gothic Revival style is my preferred architectural aesthetic for Churches, and I was hugely impressed by the grotesques adorning its humble facade. Carved stone faces peered for from the edges of windowsills, each one entirely unique, and Medieval inspired monsters loomed in guttering, jutting out harsh against the sky. The roof would once have been a work of art with its pattern of fishscale tiles, but many years have passed and patching up and essential repairs to save the building from decay have given it a quilt like quality still hinting at its former glory. The Church was certainly larger than photos had me believe, and its exquisite details and honest personality make it a charming little gem.

Many of the monuments and graces close to the Church were large and must have been a grand sight to behold at one time, their slow decay and faded magnificence has a kind of romantic charm which reminded me of Highgate Cemetery, having a similar mixture of wildness and faded beauty.
Spital Cemetery's similarities with Highgate are no mere coincidence. Many Victorian cemeteries like this were most probably modelled on Highgate and the Magnificent Seven (which in turn was modeled on Pere Lachaise) and the concept of a picturesque cemetery. From 1852 onwards many Burial Acts were passed reforming the rites and laws of death in Victorian Britain. Severe overcrowding in inner city Churchyards was causing a public health hazard, and two cholera epedemics and tens of thousands of deaths had bought burial and safe internment of remains to the forefront of public concern. In 1857, the same year Spttal Cemetery opened, a national system of public cemeteries was established and Burial Boards were formed to manage and maintain the new Cemeteries. Cemeteries became a planned park-like space, where you could mourn, be remembered and set your place in history for eternity.

Spital Cemetery is a truly beautiful, special slice of Victorian Cemetery, and I envy, and commend the lucky soul who may one day get to save Spital Church and call its rolling hill home.

Art in focus: 'The Fool'

'The Fool' is the ultimate card of new beginnings, innocence and potential. Numbered zero in most decks The Fool signifies the beginning of the journey through the Major Acarna, which represents the journey of life and the paths we all must chose between. The fool is care free, innocent and at the beginning of his creative potential. He is blind to the future and lives in the now. In a reading The Fool can represent a new beginning or journey and stepping out into the unknown, taking a leap of faith or that there may be choices laid before you. The Fool's lesson is to trust your heart and follow it, however ridiculous it may seem, trust the universe and its plan for you.

Traditionally in Tarot 'The Fool' is portrayed as a court jester-esque, clueless looking figure, often with torn trousers and a small dog biting at his behind. A common theme is the impression that 'the fool' is walking blindly, about to fall from a precipice. He often carries a staff or walking stick and a bindle (a sack containing his possessions - a la puss in boots). This suggests that the Fool is on a journey and carries with him his entire world.  In Rider-Waite many of these common themes remain, however the Fool appears far more carefree and flamboyant in appearance. Added symbolism also includes a white rose, symbolising his innocence and purity, and the rising sun represents new beginnings. The Rider-Waite interpretation gives far less of an impression of mockery than some other decks, and portrays the Fool in quite a positive light, closely reflecting the meaning of the card.

When designing my Fool I had two had two concept directions which I considered approaching from; that of a court jester style fool or that of a wildman style innocent. I decided to go with the latter idea, as I felt it had a lot of scope to be developed into an interesting piece differing from most interpretations, and I liked the idea that it also had suggestions of the beginnings of the human race and our early innocence and potential.
I chose to loosely base the portrayal of my Fool on the stereotypical caveman. Clothed only in fur, it suggests that his material possessions are few, they are of the earth, found by him and are only used out of necessity. It also hints at inexperience and naivety, as he has no provisions for his journey through life (represented by the mountains), and no protection from the elements the universe may throw at him. If he is to survive he must adapt. His staff, is danger hidden in plain sight. Though it may appear to him to be of no concern, it is in fact the form of a snake, ready to strike and turn upon him and his ignorance to danger. The Fool steps forward unconcerned, he is blind to the dangers of the world and the pitfalls of life, with his eyes firmly closed he does not see the drop at his feet, or the beauty of the sunset behind him.
As the first card in the deck 'The Fool' ties in many recurring elements within my Tarot series. The mountains often used to represent life's journey, a difficult path, power or danger. The river flows through may of my Tarot, also symbolising the flow of life and its path. These two elements also represent the masculine phallic and the female fertile symbols. The crow, a feature of the series not only because he is my favourite bird, but because throughout history he had been used to represent death, wisdom and knowledge. In the case of 'The Fool' the crows part has to perspectives; he is the guardian through the Major Acarna. A protector and a guide always at hand to whisper his council and timeless wisdom in mans ear. Or the alternative view, as a carrion bird, he follows the Fool, waiting for him to make his error of judgement and fall to his doom. He uses his wits and wisdom to wait silently in the wings for an easy meal from the carefree Fool.

As my last Tarot Art in Focus post, I would like to take the time to thank anybody who has read any of these insights. It has been quite an interesting, often therapeutic experience to explain the thought processes and in depth symbolism behind my Tarot series. The series was a huge undertaking, not just in the creation of the pieces (155 hours work), but also in the research required and the time working on concepts (none of which was timed), and I hope that these posts have reflected this. My artwork is an eclectic mash of all the things which make me who I am; films I love, books I've read, people I know, things I think, and I hope that somewhere among the 22 posts of rambling detail and nonsense, that this could be seen.

Art in focus: 'Temperance'

In Tarot 'Temperance' is all about moderation, peace, tranquility and balance. You are on a path in life where you can see the bigger picture, surround yourself with a calm atmosphere and influences and the right choices will be clear. You have taken a middle of the road path in life and maintaining a Balanced perspective and avoiding extremes is the right approach for you. Patience is your greatest ally, remain calm, meditate, and the answer will come from within you.

Traditionally 'Temperance' is depicted as an Angel, pouring water from one jug to another, half on land and half in water. These basic themes are maintained in many different Tarot decks dating from Marseille Tarot to present day. They represent finding a balance in life and mixing the opposites to achieve that balance and avoid extremes. The Rider-Waite 'Temperance' largely follows the traditional imagery, with the usual addition of details which enrich the symbolism. The Angel is actually a hermaphrodite, representing the balance between genders, and the land represents the material world and water the subconscious, which they are attempting to find balance between. The jugs have been exchanged for cups, presumably to relate more closely to the Tarot suits, but largely the cards basis remains the same as it originally was.

Initially I really struggled to think outside of the box when it came to Temperance. No matter what quirky approach I took or unusual angle I tried to take the design in, it just wasn't developing. I took an in depth look at the symbolism and messages of the card and focused my thoughts around these points to eventually move forward with my design.
I decided to progress initially with the idea of tranquility, meditation and peace. I imagined a landscape which fitted this; a pool with tranquil waters, lush green grass and a calm sky. I also included a path, a recurring element in many of my Tarot which represents the journey through the Major Acarna. My figure is placed in the middle of the path, representing her middle of the road, balanced approach in life. Many representations of Temperance show the main figure half on land half in water to represent balance, but I couldn't imagine a way of achieving this without the posture looking awkward and forced. So I thought the most tranquil thing for my figure to be doing was bathing her feet in the water, while sitting on land. I felt that achieved a sort of balance between land and water, in a less obvious way. The figure, eyes closed, meditates in her place of calm and quiet. Her dress flows out onto the meadow where she is free and relaxed. In each hand she holds a cup (referring back to the Tarot suits) and is pouring red wine from one into the pool, while the pools purity flows into the other, defying the laws of the universe and hinting at her power and spirituality. The rejection of the wine and welcoming of the water represents her path of moderation and balance to which she has dedicated her very life.

Art in focus: 'The Hierophant'

'The Hierophant' is all about tradition, conformity, religion and fixed values. The Hierophant himself represents a spiritual mentor and guide, he has wisdom to impart, and knowledge to share, but you must be willing to access it on his terms. You need to take a conservative approach and conform to the rules already in place, there is an accepted approach and 'The Hierophant' advises you to adhere to it. In a Tarot reading the card has a number of different messages; that you need to embrace tradition and an orthodox approach, you are about to experience a period of learning, you need to adapt to the rules and beliefs already in place or you may be dealing with an institution with fixed ideals not about to embrace innovation or individuality. 

Traditionally the imagery of 'The Hierophant' strongly reflects organised religion, in particular Christian worship. Early decks also referred to 'The Hierophant' as 'The Pope', depicting an image of the Pope with his 3 tiered crown, staff and followers kneeling at his feet as his hand raised in benediction to god. Many decks still follow this basic imagery, however, the card is arguably the most Christian of all cards in tone, which has led to the card having a number of different interpretations and name changes over the years, including 'The High Priest', 'Chiron' and 'Shaman'. These variations in interpretation presumably reflect the artists/designers desire to move away from Christian imagery in their deck.

When designing my Hierophant a lot of thought and consideration went into how to approach the piece. I didn't want to blindly draw a re-imagining of the pope, the direction of this piece really seemed to matter. It's no secret that I'm no real lover of organised religion, and I felt the imagery should probably reflect my critical view, yet still needed to maintain the message of the card. Eventually I came to a solution with a design with multiple meanings depending on your viewpoint.
From one perspective the figure of 'The Hierophant' is a monk, preaching to his sheep which literally represent his 'flock'. They stand in awe of his message. He holds a book which represents knowledge and learning. This obviously represents religion as a traditional hierarchical structure. The goat in the background represents the rejection of a conservative, orthodox approach, and essentially represents myself. The phrase 'Sheep go to heaven, goats go to hell' sparked the idea initially (which is actually a Cake song but I was first exposed to via an episode of The X-Files).
From another perspective, he is a raving madman rambling to the animals at pasture. The sheep look at him with curious confusion, yet blindly follow him without questioning why. The goat is totally indifferent to him and distances itself, not wishing to associate itself. I suppose the second interpretation follows my own viewpoint far more. My critical opinion on faith taught from the cradle to the grave when I feel people should follow their own path in life and respond to their own feelings and experiences instead of acting as sheep.

On reflection this was the one card where I didn't quite manage to restrain myself from rebelling and incorporating a very personal, and often unpopular viewpoint. This personal belief itself largely shaped the card, and I did question if it was the right approach, but this is my artwork and should reflect me and my ideals, otherwise what is the point? I vowed not to be censored any more a long time ago, so the worst thing I could do is censor myself. Though I did purposely make the imagery open to interpretation based entirely on the subjective, personal opinion of the viewer. But in the eyes of most; 'Sheep go to Heaven, Goats go to Hell.'

Art in focus: 'The Emperor'

'The Emperor' represents the ultimate father figure. He is the head of the family and a strong authority figure. With his wisdom and experience he forms a solid basis for a strong line, passing on his knowledge and guidance to those who will come once he has gone. He is a natural Leader and demands respect and obedience, for he is not afraid to use his power or force. In a reading this card tells us to let our head rule our heart. Be your own master and maintain your concentration and control. You are heading for success and recognition in your life, and like the Emperor will be a strong, dominant force in the world.

Generally, 'The Emperor' is depicted as the archetypal 'wise old ruler'. In Marseille Tarot he is shown as a white haired man, crowned, leaning casually against his throne, holding aloft a sceptre, with his shield by his side. The imagery is littered with symbols of power and rule. In the Rider-Waite deck the imagery is largely similar to ancient examples, with any additions bringing a little more grandeur and authority to the scene. Such as barren mountains, an Ankh representing life, and armour demonstrating strength and war.

I wanted my Emperor to emanate authority, wisdom and experience. When working on my initial sketches I quickly decided to take the same approach as with the Empress, to have him erupting from the very earth, made of the stuff of mountains, reflecting his solid strength and deep roots within his land. His robe and the mountains cannot be differentiated, suggesting that he is at one with the world. This relationship is reaffirmed as he holds the Earth in the palm of his hand, showing his strength and importance in the grand scheme of things. His thrones arched shape echoes the harsh peaks of the distant mountains. It is hewn from living rock, a bright white stone high in his lofty place of power. Carved rams and rubies adorn the throne, a connection with the sign of Aries which he represents. The three eyed Ram also adorns his shield, which represents defense and protection. The sword partly obscured by the mountain/his robes symbolises the Emperors past as a conqueror, and his time in the battlefield. His time on the front line has now passed as he rules from on high, yet he is not afraid to rule with might, or return to the ways of war to protect his land.
The spilling of blood is signified by the blood red sky and his throne. Power, glory and lives have afforded the Emperor his position, and while he does not take it for granted, he believes it is his right.
His expression is stern, representing his hard line approach to life and his hair is showing signs of greying, representing the wisdom of his years and the experiences behind him. I thought often of Théoden King when working on my depiction of 'The Emperor' as this was in many ways the type of character I was attempting to portray. 


In many ways my depiction of 'The Emperor' has numerous elements originating back to those of early Tarot. I approached this card in quite a traditional way, with a few added twists and elements which I thought would emphasise the message of the card in the desired way. I'm reasonably happy that I managed to get across the figure I imagined the Emperor to be, as Conan said of his great god Crom; 'Strong in his Mountain.' who knows only too well the Riddle of Steel.

Art in Focus: 'Justice'

The 'Justice' card is one of balance, truth, fairness and ultimately justice itself. In a reading 'Justice' encourages your actions and reactions to be fair, well balanced and objective. Your choices have long term consequences, be mindful of this and behave accordingly. Eventually we will all be judged and held accountable for our actions past and present, so remember, you reap what you sow. A balanced approach is possible, trust your intuition and the truth within you.

Justice is another example of card which has changed little in its imagery, it has merely been updated and embellished over time. One element which I think has changed significantly however; in the Marseille deck the figure appears to be winged, suggesting that the figure of justice is probably an Angel. Possibly Saint Michael judging your heart and weighing your soul with his scales. But in later translations the wings appear to have become a throne, possibly a mistranslation of the image at some stage or a wish to move away from religious imagery.
In the Rider-Waite deck the significant change was the numbering of the Tarot. This was changed compared to that of early/original decks and 'Justice' went from 7 to 11, to tie in more with astrology and represent Libra. Symbolism in the Rider-Waite depiction connects to well ordered thoughts, fairness and law. She holds a double edged sword representing impartiality and scales; representing balanced thoughts and the balance between intuition and logic. The imagery is simple and one of the least complex of the Rider-Waite deck.

Before even beginning my Tarot works I made the early decision to revert back to the original numbering of more ancient decks. I was eager to return to the traditional roots of the numbering and honour its history. The decision was largely one of gut intuition and simply what I felt to be right for my deck.
'Justice' was the last Tarot I began work on, my early ideas for it deviated little from its traditional imagery; simple, honest piece with a clear message and symbolism. This is essentially the approach I went with in the end, choosing not to attempt to over complicate and overthink the piece, I just went with what felt natural.
It was of course unavoidable that eventually my beloved third eye would make an appearance in the series somewhere. And I must admit I feel that I was very restrained in saving it till last. 'Justice' was the one card that really cried out for the symbolism of the third eye, she sees all, the past, the present, the future and crucially; the truth.
She holds perfectly balanced scales, representing fairness, objectivity, balanced thoughts and decisions. Justice judges you fairly and appropriately according to your own actions.
The sword by her hand is ready to deliver justice and punishment as she sees fit. Her hand is resting upon the sword ready to strike, reminding us that the consequences of our actions are never far away.
She is seated on a plain, honest throne, reflecting her own honesty and simplicity, yet the fact she has a throne at all elevates her above the norm in knowledge, intuition and her supernatural gift. The steps also serve as a tool to elevate her. Like the magician, her surroundings are simple and uncomplicated by lavish decoration. The two windows and their external view serve as a reminder of the power and potential consequences of justice. The new dawn brings positivity, reward and renewed vitality. Through the other window a gibbet looms on the horizon telling the viewer no ill deed goes unpunished in the balance of the universe.

Art in focus: 'The Magician'

'The Magician' is the very conduit between the Universe and Humanity. He has the ability to channel the power of the world through his actions and being. This card is all about skill, concentration and creativity. A time is upon you when you can achieve your goals with your own skill, initiative and determination. Focus your energy and actions, trust the message of 'The Magician', draw on the power of the universe and it will aid your own creativity to achieve your desires. Commitment, concentration and creativity ensure success.

Depictions of 'The Magician' vary from deck to deck but many similarities are often maintained, such as the suggestion of supernatural, magical powers and a mysterious atmosphere. Most depictions of the Magician show him holding a wand, dating back as far as Marseille Tarot, and include a table of significant objects referring to the suits of Tarot. In the Rider-Waite deck 'The Magician' maintains many original elements, but is enriched with further symbolism such as the red roses and white lilies at his feet representing duality, his red and white clothing symbolising purity and knowledge and the eternity symbol, which is hinted at on the brim of the hat in Marseille Tarot, but is here shown more obviously above the Magicians head.

While I was sketching ideas for my Magician I went on a short post-Christmas break to York with my partner. In a Church there I was struck by a stained glass window which had some striking similarities to my preliminary sketches back home. At that point the only decision I had made was that my Magician would be holding a flaming Chalice, all other elements were still open to development. The window figure was holding a chalice with snake emerging from it. I photographed the window, thinking it a stroke of fate that I had stumbled across Something so similar to my sketch, and decided to go with the timely suggestion made by fate and incorporated some other elements from the window, including the deep blue clothing and fair hair.
The Magician is one of my designs with the most separate symbolic elements. His elemental study/studio is full of objects symbolically referring to Tarot. Upon the Magicians workbench are items representing the suits of Tarot; a wand, a pentangle in the form of a wax seal stamp, the Magician holds the cup, and two swords are displayed upon the wall. Other items within the scene also have symbolic meaning, with the books representing knowledge and learning, the quill and parchment expressing creativity and the hourglass reminding us of our mortality. Within a glass cloche on the very edge of the image sits a specimen of a Crow. The crow is a recurring element in my series which I decided to include in this piece for continuity and also to symbolise knowledge.
The chalice held by the Magician burns with the flame of knowledge, but also represents his powers of alchemy and the possibility of his skill and knowledge. Other elements on his bench hint to alchemy, such as the glass bottle and notes, but his experimentation is left deliberately mysterious to the viewer.
As 'The Magician' is the card is numbered one it represents new beginnings, I chose to express this through the hint of the new dawn through the arched window, which frames the magician. His laboratory is purposely humble and modest, with a flagstone floor and lime washed walls, excess is of no concern to him, and would only serve as a distraction from the real importance of his existence and purpose. His eyes stare with a haunting knowledge and depth, hinting at his relationship with the universe and the power it channels through him. His headband is another recurring feature in the series, an ouroboros, representing infinity and eternity.
I wanted to give the impression that the viewer is looking into the magicians private, personal life and space, and witnessing an important, seminal moment in his existence, which is only being shared between him and the universe, we are simply spying in on the scene of his skill, dedication and concentration come to fruition.

Art in Focus: 'Strength'

'Strength' is the card of courage, control and compassion. 'Strength' reminds us that strength is not just a physical attribute but an important part of our inner selves. The 'Strength' card contrasts with 'The Chariot', which reflects physical strength and will, while 'Strength' represents the power of human spirit and the strength and courage within us. This card teaches that within us we have the power to control our impulses and temper, to create an atmosphere of trust and calm and tame our demons within. Ultimately: The bravery in your heart is worth far more than the muscle in your arm.

Dating back to the Marseille Tarot 'Strength' in many decks is largely unchanged. Typical imagery shows a woman holding open the mouth of a lion, demonstrating her control over the beast, which does not come from physical strength but from inner strength. The lion represents our primal, animalistic side; our passions, desires and urges. The lion is happy to submit to the woman, and her love has in theory tamed the beast. Rider-Waite added imagery such as a garland crown representing nature, the infinity symbol above the woman's head and the phallic symbol of the distant mountain to enrich the symbolism of the original imagery.

When it came to beginning work designing my depiction of 'Strength', I had no clear cut idea about the piece and really struggled with approaching the piece from a totally new angle. It's one of the few cards I left until last to work on as no matter what I sketched, researched and tried I wasn't happy with the results. The only reasonable concept I had been able to think of was to have a woman, instead of holding open the mouth of a lion, riding a lion. In a tribal, primal sort of manner. Showing the woman's strength and courage clearly, and also giving her a suggestion of supernatural power and connection with nature. After weeks of sketching bears, wolves, mythical beasts such as griffons and all sorts of mighty beasts I still had no ideas that worked as well as the fearless lion rider concept. As time pressures began to mount and my indecision was beginning to hold up the completion of the series I decided to bite the bullet and do a full size line drawing to form the basis of my lion rider idea and see if I felt the idea could work or not.
Once I had finally got the posture of the woman right, no easy task as I wanted her to appear strong, stern, confident and proud, all while riding on the back of a lion, I felt far happier with the pieces potential. One of the main reasons I wanted to keep the symbolism and imagery of the lion as the lion typifies wildness, ferocious beasts and nature. The lion is one of the few animals we still genuinely fear, and I believe the fear is an inbuilt, primal response. I chose to portray the woman riding the lion as fully nude. I felt this was really important as it represents her confidence and freeness in the world. She is as free and wild as the lion, unhindered by materialistic possessions, and she is far closer to nature for it. She has no shame or concern of her natural state, just like the lion. I approached the woman with the idea of her being a mighty Amazon, or woman of some mystical Tribe with the skill and power to not control nature, but cooperate with it and be totally at one. The lion is not her slave, or her unwilling transport, their union is a mutual one, with respect, courage and inner strength at its core. I really wanted to capture the cards message of soft control, and felt the idea of the woman's compassion and courage taming the lion and earning it's respect was the most important element to project. Looking at the completed piece now I am satisfied I achieved this message; love and courage can tame the fiercest beast.

Art in Focus 'The Chariot'

'The Chariot' card is all about challenge, control and conquest. Through your strong will, dedication and determination you will be successful and victory will certainly be yours. The challenges which you face will only serve to increase your strength and willpower. 'The Chariot' ultimately pushes you down the path you are already pursuing, there is no room for doubt and the stamina needed is immense. You must commit to your cause with unquestioning dedication, drive and confidence, and then you shall triumph. Ultimately 'The Chariot' is the card of hard control, of ego, confidence, anger and self discipline. The card tells us that it is time to be firm, determined and direct, but all in the correct measures. 

Traditionally the imagery of 'The Chariot' was rather simple and as you might imagine featured exactly that. A chariot, usually horse drawn, and a strong male figure riding the chariot. Many Tarot decks continue this interpretation, often with subtle changes. The Rider-Waite deck maintains the basic principles of the cards imagery, while enhancing it with symbolism such as moons, stars, symbols of alchemy, rejection of civilisation and most notably replaces horses with sphinx. 'The Chariot' is one of the cards that I felts name alone left little room for reinterpretation, so some consideration was required to put my own mark on the imagery of the card. 

When designing my Chariot I wanted to maintain some elements of the traditional imagery of the card, such as including an actual chariot in some way, and quite liked the Roman imagery the word alone evokes, but I also wanted to give the card a quirky twist to make it unusual and different. I feel compared to early Tarot, Rider-Waite did exactly the same thing with this card by adding a lot of deep symbolism to what was originally a quite simple card in its imagery. I decided to deliver my twist through the use of a recurring element in my series; the Crow. Having previously used the image of my favourite bird to deliver messages of wisdom, knowledge and faint mockery, I now decided they could be a symbolic mode of transport (well the engine at least) as well. I liked the thought that rather than having horses like an actual chariot, and the early imagery in Tarot, the concept of being drawn by giant Crows was rather interesting, as they provide the possibility to travel both on land and in the air. This gave the piece the semi-surreal and fantastical atmosphere which I was aiming for. The giant Crows also represent positive and negative, yin and yang, as one of the crows is Albino, creating balance between the pair. I chose to include a Crow in the design of the Chariot itself, suggesting that the figure is not enslaving the Crows, more worshiping and respecting them. Though the Crows are bound to the chariot with a golden harness and rope (which was intended to suggest magic and mystery) the Chariots rider is not holding the harness, it is guarded and entrusted to the chariot itself and its crow mascot.
The Chariot's rider was intended to look vaguely like a Roman solider, with his red cape representing anger, his strong physique representing strength and his golden laurel representing knowledge, however I realised after drawing the piece I had unintentionally made him look vaguely like Jim Morrison, so I quite fittingly now call him 'The Rider on the Storm', which worked out in a strangely apt way. It can be bizarre how these things come together.
I wanted to keep the landscape of the piece quite plain as the main focus was intended to be the Chariot itself, however I did use the sky to increase the sense of the scene being set in a strange, magical place. The sunset and full moon was intended to give the impression that what is being witnessed is important and a momentous moment is just about to occur as The Chariot rides on the storm.

Major Acarna

After over 155 hours of drawing and painting, countless hours of research, planning and conceptual work and an awful lot of scanning and photoshopping I'm hugely pleased to say that my Major Acarna is complete. The series has been a mammoth undertaking, but after months of hard work my Tarot Series is finally complete. I'm so pleased I chose to take this epic journey and create my largest artwork series to date.

The entire Major Acarna is now available to purchase as prints from my etsy store ...

https://www.etsy.com/uk/shop/DanseMacabreUK?ref=hdr_shop_menu

Art in focus: 'The Hermit'

'The Hermit' card is all about seeking the truth and walking a difficult, but rewarding path. In his soul searching solitude the Hermit had gained incredible wisdom, knowledge and awareness. The Hermit card suggests that through introspection, contemplation and meditation you too can achieve new heights of wisdom and spirituality. What you seek lies within you, and though its discovery may be a lonely path, it's seclusion leads you to ultimate understanding of yourself, the knowledge within you and the deeper meaning of our existence.

In many Tarot decks the The Hermit is portrayed in very similar ways. As an elderly man, who may be searching for something, usually holding aloft a lantern, which symbolises wisdom and guidance. In Rider-Waite Tarot the lantern contains a 6 pointed star within, which is the symbol of the seal of Solomon and represents wisdom. Usually the Hermit will be cloaked or hooded, and holding a staff, representing power and travelling along a narrow but ultimately rewarding path. He is alone, showing the isolation he has chosen and which gives him his power and knowledge.

When designing my Hermit I wanted to focus on his solitude and knowledge as the main themes within the piece. Initially I found it quite difficult to decide on the physical traits of the Hermit, I knew I wanted him to be cloaked and hooded, but beyond that I had no set idea of what I wanted my hermit to look like. I began to consider the symbolism of the hermit and what he meant to me, and realised I drew large parallels with the Hermit and Gandalf the Grey. Every time I thought about him that's who I saw, so a lot of Gandalf was put into my final portrayal of The Hermit. Another inspiration was 'Light of the World' by Holman Hunt. The imagery of this beautiful painting guided my illustration, though to compare it to my completed piece you wouldn't really know it.
The landscape serves as the main method of emphasising the Hermits solitude, as he stands alone in an infinite, unwelcoming mountain wilderness. He urges you to follow his path to ultimate wisdom, however it is not an easy one to tread. The stream is a recurring element in my Tarot landscapes, beginning with the fool, and symbolises the continuing story and narrative throughout the Major Acarna from start to finish.
On his staff rests a crow, revisiting the crow who first appeared in 'The Fool'. Crows are incredibly wise birds, yet are very misunderstood and have a reputation of being an ill omen. The crow represents the Hermits wisdom and how it guides him along the path of his life.

I used a very muted, nocturnal colour palette to emphasise the warmth of the Hermits lantern which represents the Hermits inner spirituality and knowledge. I chose to maintain the use of the seal of Solomon from a Rider-Waite Tarot to give my lantern a supernatural, powerful appearance. I wanted it to inspire awe and wonder on all those who look upon it, suggesting the incredible power of wisdom and knowledge.
The grey of the mountains and the hermits cloak shows his connection and oneness with the world. His appearance is like his existence; simple and honest. He has rejected the material world and the temptation it brings, instead trusting a higher purpose and his own potential in life.
I chose to set the piece at night, as I liked the notion of the Hermit romantically toiling along his path come rain or shine and even in the darkest of night. I also wanted to the pitch blackness and tiny crescent moon to emphasise the power of the Hermits inner light, which shows that with wisdom you can illuminate the whole world.

Art in focus: 'The High Priestess'

'The High Priestess' is full of female intuition and is a powerful card of mystery, dreams and the subconscious mind. 'The High Priestess' has incredible knowledge, wondrous wisdom and a deep spirituality. 'The High Priestess' tells us to trust our dreams and the guidance which comes from within us, to look beyond the obvious and delve deeper into ourselves. In a Tarot reading this card can also indicate mystery and a future which may seem unclear and uncertain, but remain clam, at peace and all will become clear. 

The High Priestess's depictions vary from deck to deck, but many common attributes include being depicted as young, beautiful, mysterious, with hints of supernatural power and suggestions of magical knowledge. Often the imagery used ties in with the moon and twilight hours, heightening her mystery.
In the Raider White depiction, the High Priestess can be seen seated between the pillars of Solomon's temple. Many symbolic elements refer to to ancient myths and legends, such as Persephone and the pomegranate. Her headdress is the symbol of the triple goddess and upon her chest can be seen the solar cross, a symbol of balance. Her appearance is somewhat ritualistic and unusual, which creates a certain intrigue about who she is and what she does.

When designing my High Priestess I really wanted to convey the sense of mystery, the unknown and portray her as an alluring figure. She guards a mysterious world and holds the key to your inner potential. I wanted to show this clearly and let their viewer decide their reaction and emotions to this. Her posture is both alluring and unabashed, she has no shame or embarrassment. she is beckoning to the curious, that more lies within the temple if they are dedicated enough to explore. Reflecting on the finished card now I can see obvious influences in my depiction of the High Priestess herself, namely my beloved Hammer Horror films and interest in the occult. Robes, choice nudity, alluring women and mysterious occult/satanic ritual have all probably been subconsciously collected from films such as To the Devil a Daughter and The Devil Rides Out  (I'm a big Dennis Wheatley fan), and influenced the final imagery.
The headdress worn by the Priestess is influenced by the pagan symbols of the Triple Goddess and Horned God. The Triple Goddess represents the different stages of a woman's life; Maiden, Mother and Crone. The crescent moon represents the Maiden and the Crone, while the full moon represents the Mother. Another symbol which impacted on the design of the headdress was the imagery of the ancient Egyptian Goddess Isis, whom is closely linked with the High Priestess card. Her headdress (which was also the headdress of Hathor) had two horns (which looked remarkably like a crescent moon), holding the solar disc of the sun. These shapes are very natural and appear throughout many cultures, and seemed the perfect way to suggest the elevated status of the High Priestess and her mystery without affiliating her to any specific culture or faith.    
The temple itself has elements of Egyptian architecture, tying in with a lot of occult/mystical traditions and their ancient influences. The red drapes are the suggestion and temptation that within the pearly white of the temple lies ripe fruit, the inner potential and promise that the temple holds for the willing. A slight glimpse of light and shadow within the temple can be seen, hinting at its hidden depths, just like the minds hidden potential and complexity.

The High Priestess was one of the cards I was most looking forward to working on, as I had a clear idea of the atmosphere I wanted to convey and the symbolism of the card is some of my favourite. I really enjoyed creating my own interpretation of 'The High Priestess', as I feel it strongly reflects some of the aesthetics and themes which inspire me most in life.

Art in focus: 'The Empress'

In standard Tarot, 'The Empress' is one of two female archetypes, the other being 'The High Priestess', who represents the mysterious, Unknown side of female nature, while the Empress represents the 'other side' of female nature. Femininity, fertility, abundance, motherhood, and creativity are all associated with the Empress. She is the embodiment of Mother Nature following the natural rhythms and cycles of the earth and reminding us of the importance of nature in our lives.

In most depictions of 'The Empress' she is a strong, queen like figure. Originally in Marseille Tarot many aspects are akin to 'The Emperor', however as time has progressed many depictions have focused on the symbolism of 'The Empress' far more, drawing on her connections with nature and fertility, sometimes portraying her as with child, or as in Rider Waite a goddess like figure of nature, covered in and surrounded by imagery relating to harvest, fertility and abundance.

When designing my Empress quite quickly I had a clear idea about her concept and how I wanted to portray her. I really wanted to emphasise the connection between the Empress and nature, that they are totally at one and reinforce her 'Mother Nature' persona. The most logical and interesting way to do this (to my mind) was to directly connect the figure of the Empress to the earth. The landscape flows into her, and she into the landscape. They are seamlessly connected signifying their bond, unity and that her fertility is tied to the land. With this in mind I started to sketch my Empress, hair and dress flowing into the landscape, with no beginning or end. She is a goddess of nature and this is the powerful, bountiful, glorious image I wanted to portray. I also decided to place the empresses hands over her womb to signify fruitfulness and fertility. She is bare chested to express her bountiful body and nature. This also reinforces her strength of character and the natural form of her own body. Her dress/the fields, are blooming with flowers, again to reinforce her abundance and fruitfulness. The simple design of the flowers was inspired by the Simbelmynë from Tolkien's Middle Earth, which grew on the tombs of ancient ancestors in Rohan.
Most versions of The Empress feature a crown as a main element of the Empress, suggesting her status and importance. But I wanted my imagery to tie more with nature and its power than material wealth, so I chose to crown my Empress with Simbelmynë flowers and a wreath of leaves, reaffirming her status as the empress of the earth.
Her throne is of simple design and natural materials. The wood is solid and represents natures support, and the gold represents the sun and it's fertility, as well as a halo to elevate the spiritual status of the Empress.
The distant mountains, which are not connected to the Empress directly, but are part of her world and the landscape of her life are related to the Emperor card, which is connected closely and follows the same theme of emanating from the earth, as the Emperor erupts from the distant mountains, strong and hard.

I enjoyed developing 'The Empress' and portraying a very different image of women to 'The High Priestess', though I know which category I fall into!

Art in focus: 'The Hanged Man'

'The Hanged Man' is the ultimate symbol of self sacrifice and surrender. With this card comes total suspension of action, patience is a virtue and 'The Hanged Man' indicates the need to wait as long as you can if you hope for the best outcome. 'The Hanged Man' represents willingness to wait to achieve your ultimate goal, to act selflessly and sacrifice the immediate for the greater good.

In Tarot decks 'The Hanged Man' is not represented as the name may suggest. You you'd be forgiven for conjuring up the image of a man with a noose around his neck at the gallows. However, the deep symbolism of the card is linked with being a willing martyr, not receiving punishment. The typical imagery of the card is largely unchanged since the time of the Marseille Tarot. A man is suspended from a tree by his foot. It is implied by both the symbolism and the imagery that this 'hanging' is voluntary. Many Tarot maintain this basic imagery, along with the posture of the man, with his hands behind his back, and one leg behind the other forming a triangle.

When designing my 'Hanged Man', there were long deliberations and ponderings as to its design. I did not want to confuse the symbolism of the card by hanging my man from a gibbet (even though the imagery appealed to me, and the gibbet is a recurring element within the series). So I took an entirely different approach with my final design and represented my 'Hanged Man' in a very different way.
I wanted to emphasize the idea that the man is willing in his actions and the choice is his own. I tried to give him a relaxed posture and a serene, calm expression, almost that of meditation. His sacrifice is to the universe, and the natural order of things. His oneness and connection with nature is represented both by his nudity, and by the ivy which suspends him. It shows a mutual trust between the man and the universe, it supports him and suspends him and he in turn offers himself  as martyr for the greater good. The ivy which is at one with the man is beginning to flower, representing that patience has fruition and the universe will reward the man for his sacrifice.
I purposely wanted the man and his action to be the focus of the card. The trees within the piece set the scene and show that the man is surrounded by nature and supported by the world. The canopy or roots of the trees cannot be seen, suggesting that the trees themselves are infinite, and in theory the risk the man takes is higher (because of the height of the tree), yet it also implies the incredible level of his trust and faith.  
Visually 'The Hanged Man' is one of the simpler cards in my Major Acarna, yet the symbolism and message behind the artwork is one of the deepest; trust the universe and its plan for you, don't be afraid to stand still, breathe and wait for the time to be right. The here and now may seem important, but never lose sight of the bigger picture. 

Art in Focus: 'Death'

'Death' is famously the most feared card to crop up in a Tarot reading. But its not all doom and gloom when it comes to the actual meaning of 'Death' in Tarot. 'Death' signifies change, something in your life is coming to a close and as one phase ends a new beginning can bring renewed energy to your life. The transition your about to undergo should be embraced and welcomed as a positive transformation in your life. 'Death' teaches us to move forward with our life, progress positively and treasure the gift of renewal. 'Death' is not only the end, but also the beginning ...

In Tarot decks 'Death' like 'The Devil', has a great many depictions. Once again, this is something which is deeply rooted in most cultures, societies and religions. As something we all must face, every culture has a different viewpoint on death and the messages surrounding it. Death is something we all have a highly personal opinion on, depending on specific beliefs this can differ vastly from individual to individual. I believe that this is the reason there are so many artistic interpretations of death. There are so many personal viewpoints and traditions surrounding death, he wears many masks.
Death itself is viewed by many with great fear and terror, which is presumably the reason many of the depictions of 'Death' are so negative and full of fear, though some can see death as the inevitable course of life, and just something which will happen as part of natures course.

When designing my 'Death' card I wanted to draw inspiration from lots of traditional depictions of death. I wanted to maintain the traditional 'grim reaper' approach of many Tarot, but also incorporate a lot of artistic symbolism with close ties to death. My 'carcass collector' character is not given any elevated status or power, he is a skeleton and is not intended to be threatening, though the simple image of a skeleton tends to conjure up fear and threat naturally. The thing which sets him apart from the other dead is his scythe, which I liked the idea that he is literally harvesting the dead and collecting them. He roams the earth eternally in search of the dead. I chose to depict him in an ancient dilapidated graveyard which has all but eroded away. In the distance different perspectives of death are portrayed; a hanging tree, with a noose, as reference to death as release or relief, and to the right, a gibbet, as reference to death as punishment. The various different paths represent the different journeys we all take from the beginning to the end of our lives. In the foreground some unearthed bones can be seen. A crown has fallen from the brow of a skull. The long dead king reminds us that status is no protection from death, and however powerful, you cannot avoid the inevitable. Sitting happily atop the kings skull is a Barn Owl. Traditionally in art symbolism Owls were harbingers of death, and can be seen on many ancient religious paintings bearing ill fate and doom.
I wanted the sky to reflect the true message of 'Death' as a Tarot card. A new day is just dawning. The warmth of the sun is just beginning to creep into the sky and a new beginning is here. Death is not only the end, but also the beginning ...

Art in focus: 'The Devil'

'The Devil' is a card all about lust, impulses and the darker side of human nature. In a Tarot reading the card can relate to despair, addiction, lust, sex, negativity, fear, illusion and human impulses considered sinful. As you would probably imagine the connotations of the card are considered negative. But the message of the card does not attempt to blame 'The Devil' as a character for these things, it warns that these feelings come from within us, and the devilish nature within us which may be out of control.

Depending on Tarot deck 'The Devil' has a great many guises, from horned beasts, to Baphomet-esque princes of darkness, to modern day red monsters. The Devil and a physical representation of evil is featured within most cultures, hence many artists have a clear idea and personal identity for this card. The earliest Tarot depictions of 'The Devil' relate largely, as you would expect, to historical portrayals of the Devil from Medieval art. A Horned beast, satyr-esque, with female breasts and male genitals, as in most ancient western depictions of Satan, a grotesque face resides upon the stomach (sometimes this was the genitals), and wings denote the fall of an angel from grace, and the creation of Satan. A male and female Satyr were usually a common feature also, possibly denoting the Devils relationship with mankind. 

When designing my depiction of 'The Devil' I wanted to draw on original features which appeared in early images of Satan from across Europe, including dual gender, horns, hoofed feet, part animal part beast, wings and satyrs. But I also wanted to mold my demon with modern day depictions of Satan in mind, largely Baphomet, the Sabbatic Goat and the association goats have with occultism. In many cultures, goats are considered lustful and unclean, which is from where their ties with Satanism have been drawn. By combining many elements used when depicting the Devil, and Baphomet in art, I came up with my own interpretation of 'The Devil'.
In one hand the Devil holds a torch, this represents the flame of original sin which burns within us all, he holds this flame as a reminder of Lust, Passion, Greed and human nature. His other hand is raised to bar entrance to his domain. His arms are positioned in the 'as above, so below' pose, representing harmony. Above the door to Satan's domain in the inverted pentagram, s symbol of Satan himself, and also of the darker side of magic and occultism, which the Devil is barring access to for the unworthy.
A man and a woman, representing mankind, are transforming into Satyrs - the longer spent by Satan's side, the more mankind comes to resemble him and act as his servants. Their physical traits, such as their horns and tails, represent primal, animalistic instincts, and the transformation of their physical characteristics suggests that they are becoming more like their master. Depending on your interpretation the Satyrs are enslaved, but I prefer to think of them as having made a conscious choice to live a life considered sinful, indulging in instincts such as lust, greed, and all that they desire. They are bound by chains to Satan's pedestal, but it is a choice they have made of their own free will.

In my depiction I felt it was important to draw a clear connection between sin, Satan and humanity. This card expresses the interconnection of these factors, and I wanted that to be the clear focus within my image.

Art in focus: 'The Tower'

'The Tower' is the one card in Tarot that shakes the very foundations of your life. Dismay, disaster and destruction are written in the cards and great turmoil is upon you. You must face this difficult time reassured in the knowledge that hardship, pain and fear will pass, the tower may be destroyed, but the destruction of its falsehood leaves room for a new beginning rooted in truth and strength.

Traditionally, 'The Tower' is illustrated in a very literal manner. Usually with a stony tower rising up from the earth (sometimes as if from nowhere), and its destruction is depicted full of fire and brimstone, struck down with a lightening bolt sent from the heavens, and its occupants falling foul, cursed by the Tower and falling to their doom. Most depictions maintain these key elements, with stylistic elements varying from deck to deck. 

Chronologically this was the first Tarot I started work on and the first concept I developed when I first began to seriously sketch ideas with a view to doing the series.
I had the vision of a crumbling stone tower being devoured by Hell Mouth, and that was my initial conceptual basis for 'The Tower'.

I wanted the imagery of 'The Tower' to be very dark and dismal, utterly despair inducing. When designing the tower itself, I wanted the shape and form to be quite simple. Something easily identifiable and suitably ancient looking, but I wanted it to have the appearance of having been some sort of defensive tower, a fortification that had fallen to evil and dismay. As an element in many depictions of 'The Tower' I chose to keep the lightening bolt causing the destruction of the tower, to suggest divine intervention and falling foul at the hands of an unknown force. 

Hellmouth is an ancient idea which I have been fascinated with for a number of years. It is a recurring element within my Tarot series, as a physical representation of the gate to hell.

I wanted the landscape surrounding the tower to be very bleak and harsh, so I chose to isolate the tower with jagged, hostile looking mountains and no other signs of life. 

The palette I chose is very muted and dark, it is purposely dominated by Hellmouth and the deep red sky, which symbolises death.
I wanted my interpretation to be as accessible as other depictions, with the imagery speaking for itself about what is occurring within the scene, the disaster and tragedy which is occurring, The suffering and misfortune of the unfortunate few, devoured and damned by Hellmouth, with his unblinking eye staring out; unforgiving, unresponsive and unsympathetic.

Aspirations and Inspiations: Sir John Everett Millais

Sir John Everett Millais has long been one of the artists with which my fascination never seems to end. Millais is my favourite Pre-Raphaelite artist, and I consider his combination of artistic skill, incredible photorealism, significant symbolism and ability to tell an in depth story through one still image the pinnacle of artistic perfection.

The paintings which Millais created during the 19th Century have become some of the most recognisable, iconic images in British art. Millais was the one Pre-Raphaelite artist who really achieved critical acclaim and success during his lifetime. He had the ability to bring a scene to life with vivid clarity, and posessed in depth knowledge of literature and symbolism to back up his work contextually, making every detail within his art both important and intentional. Millais was not afraid of commercial success, and with 8 children to feed who can blame him? Millais has been accused of compromising his Pre-Raphaelite style, accepting highly paid commissions and becoming a popular mainstream artist, but Millais' choices made him one of the most successful artists of his age and earned him a prominent place in British art history.

Pre-Raphaelite art has been ever present throughout my life, I have admired and marvelled at the work of the Brotherhood for as long as I can remember.  I recall thinking as a child the pieces were incomprehensibly perfect and technically at a level I could never hope to achieve. But it wasn't until I was at college I truly began to appreciate the in depth symbolism and stories behind the artworks which had been a part of my life for so long.

Millais famous masterpiece 'Ophelia' is a prime example of the complexities of Millais work, in subject matter, technique and symbolism. Depicting the tragic death of Ophelia, told in Shakespeare's 'Hamlet', Ophelia is driven mad by grief  and drowns herself in a brook, singing all the time while she sinks to her muddy death. The riverbank which is the setting for the tragic scene was painted by Millais in situ over a long period of time, come rain or shine, every detail of the bank was laboriously recorded and painted. Every single flower in Ophelia's sodden posy has a symbolic meaning, dictated by the popular Victorian 'Language of Flowers', which Millais carefully chose to convey characteristics about Ophelia and her death. Famously, Elizabeth Siddal (whom later married fellow Pre-Raphaelite artist Dante Gabriel Rossetti) modeled for Ophelia, added into the already complete landscape, however after several hours in a cold bath tub she became ill, and unfortunately for Millais, he was considered responsible and had to foot Siddal's medical bill. His portrayal of Ophelia is truly haunting, with her vacant, sorrowful expression and hands outstretched in willing submission, she welcomes the release of death from her insanity and pain.  

Nothing can quite prepare you for the wonder of seeing Millais' work up close and personal for the first time. I had arrogantly thought I would be unmoved having spent so many years staring at books and prints. But my first ever trip to Tate Britain (and subsequent ones) have proved just how wrong I was. Everything is a feast for the eyes, every artwork a joy to absorb and even the gilded frames which fill the walls are a masterpiece of craftsmanship and conception themselves.
The incredible vivid green and sheer vibrancy of Ophelia I remember was larger than life. And the painstaking detail of every leaf and flower, and every shadow and highlight upon them, regardless of their place in the composition is artistic perfection I could only dream of achieving.
The electric blue of Mariana's dress was utterly breathtaking, I recall being absolutely transfixed by its sheer boldness, and in awe of the delicacy of the velvet texture. The detailed memory and emotions it caused have stayed with me ever since, as fresh now as they were all those years ago.
In my naivety I had no idea that no amount of books and internet images could prepare me for the true majesty and skill with which these images were painstakingly rendered.

The work of The Pre-Raphaelite Brotherhood continues to force me to challenge myself as an artist. Skill and technique is an ever improving, constantly developing factor. Reflecting on the works of artists I admire so much, such as Millais, always serves as a reminder that self improvement and striving for brilliance is essential. Millais always prompts me to have the deepest context and consideration possible about what I'm trying to portray, to attempt the highest and most reasonable level of detail and ensure the technical accuracy possible for your piece, always adhere to the rules of real life, proportion and perspective cannot be bent.  If you don't believe in the picture you're painting, how can anybody else be expected to?