From gritty animations for Grime producers to retro-inspired editorial illustrations, the work of this Bristol-based illustrator combines a handmade feel with endearing characterisation.
Tell us about a project or piece you’ve particularly enjoyed working on recently.
My favourite projects to work on are record sleeves for Black Acre, as I get pretty much free reign to do as I like. I've recently completed two sleeves (I can't divulge details quite yet, but one is for a good friend.). It's nice to be trusted to do what you think looks good.
Describe your process.
My process involves lots of mark making with various mediums, then scanning and composing my final image on screen. As a screen printer, I try to look at every piece I make as a physical print rather than just pixels on a screen. I used to think that using a computer was somehow cheating.
What kind of projects do you particularly enjoy?
Again, anything where I'm trusted to just get on with the work. I guess creating record sleeve artwork was always a dream of mine and to be able to do them with relative frequency has been amazing.
You’re a founding member of Puck Collective - how did that begin and what does it entail now?
Puck Collective is Robbie [Wilkinson]’s baby. The founding members are all graduates from Bath Spa and I was drafted in by Robbie after I graduated, as one of five members. The first few months of Puck Collective basically involved a few shows and a room at Pick Me Up 2011 – now we have forty members that change annually. I know that having forty members can be an issue sometimes (Dave [Gibbons] described it as 'herding cats'), but I think that we have a much stronger identity as a collective now. We have a publication on the way, along with some shows, I think the next few months are going to be very good for us.
How would you describe the illustration scene in Bristol and how has it influenced your work?
To be honest, I don't know too much about the scene in Bristol, thought there are definitely some amazing illustrators working here. I guess being a part of Puck Collective has meant that although I choose to live in Bristol, much of my efforts in terms of shows and events end up being in London. Having said that, I do find Bristol to be a very inspiring place full of great open-minded people.
Tell me about your collaboration with Ruff Mercy?
It's funny because when I was at university, I had to try animation as part of the course and I absolutely hated it. Now I'm working on some really great animation projects with Ruff Mercy. I met him through Ian at Black Acre and a week later I was working on a Wiley video with him. He's really good to work with as he totally embraces the gritty and imperfect side of illustration that I love, and also we get to sit in the studio listening to loud rap music which is obviously great.
What would be a dream commission?
The three things I always wanted to do as an Illustrator was design a record sleeve, a beer label and a skateboard graphic. I've done the sleeve, and I've done the beer label (which is yet to come out) so I'd love to do a skateboard graphic. I think brands like Polar have brought the weirdness back into skate graphics and they're finally becoming interesting again. I would also love to do some work for the band Thee Oh Sees – a video or sleeve, I don't mind.
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