W i l l i a m S B u r r o u g h s

p e n c i l o n p a p e r

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H O R R O R S

F I E L D D A Y 2 0 1 1

J U N K

O A P

I have an unhealthy obsession with drawing old men...

S U M M E R 2 0 1 1

J E S U S - H E L L D O G S

S K U L L S

C R U X

E X H I B I T I O N - 7 A P R I L - 2 0 1 1

a c e t a t e p r i n t

In researching religious iconography I looked extensively at old, historic pieces of religious art - particularly triptychs. I liked how triptychs incorporated three different stories and themes whilst still maintaining a cohesive narrative. I’ve taken a similar approach to my piece; the three depths to my picture - the prominent and austere cross; the sins hidden within the mass of unruly forestry that represent those who sinned - and ultimately, those who Jesus Christ died for; and the secluded but centralised image of Jesus Christ, all tell a different tale of religious iconography. Yet each part of the triptych supports the other, and each one individually is supported by a number of beliefs and emotions. The cross exists because of Jesus; Jesus exists because of the sins he died for; and the hidden sins exist within and through both of the icons that contain them within the picture. The power that lies within Religious iconography is undeniable, believer or non-believer, and I attempted to catch this within my austere and unsettling modern adaptation of the old, heavily saturated, triptych form.

Photographs by Matt King and Felicity Ireaci

s e c r e t - p l a c e s

S T R I C K L A N D H O U S E

This is where I live:

D E E R

L I B E R A T E D P R E S S

I was commissioned to do some illustrations for The Liberated Press, a low-fi publication inspired by 1960's and 70's underground counter culture, supported by London's best department store Liberty. The final product has been archived at The Victoria and Albert Museum. Here are some of the images I produced that were featured:

"L O V E I S W H A T Y O U W A N T"

I recently went to the Tracey Emin retrospective at the Hayward Gallery. Featuring previously seldom shown early works along with newer pieces, it was amazing to see such a vast body of her work displayed together. Emin's work is pretty diverse and initially I was curious to see how it would all sit together. However, careful curation meant that not only did the exhibition flow pretty nicely, it also literally felt like stepping into someone's deepest thoughts. I've always really enjoyed the confessional and narrative aspects of her work. A personal highlight for me was her videos, in particular 'Why I Never Became A Dancer' (1995). Whilst I was there I took some sly photographs with my Minolta:

One of my favourite photographs of hers is 'I've Got It All' (2000) in which Emin is seen clutching multiple foreign currencies to her crotch. Created during a time in which Emin was beginning to gain worldwide recognition and financial success, at first glance one would assume that Emin was being brash and almost boastful. When you think about it more though it's as if everything she is claiming to 'have' is materialistic and in actual fact she perhaps has nothing of any real worth.

A U S T R A - L O S E I T

Off the chain.

Austra - Lose It from Raziel on Vimeo.

D R A W I N G S

P E N O N P A P E R:

P O R T R A I T S

The first is my Dad, Neil Roderick Marshall. The second is a portrait of Ian Mckellen I drew for my little sister - a massive McKellen fan. Pencil on paper:

War Museum

If you ever get the chance I'd strongly recommend a trip to the War Museum. Amazing yet sobering, it's an experience that stays with you long after you've left the building. From a life size recreation of a typical 1940's house to Nazi Propaganda this place has four floors of War memorobilia and artefacts. It's one of the best museums I've ever been to and unlike most things in london, it's completely FREE.