Mark Scott-Wood

Escape to the country - a studio move

2012-02-02T13:35:00.001Z

I’m only here because I’m too lazy to go anywhere else.

So today I thought I would share a few words andpictures with you of my all too recent studio move. I have been promising myself achange of scenery for a while now and always with the intention of getting awayfrom the distractions of the city and to give myself a few months in thecountryside to concentrate on just plain old unadulterated making and creating.I also feel I need to give myself some space to regain some confidence in my working practise and rebuildmy limited faith in the art world after having such a terribly negative experience withDebut Contemporary last year. Fortunately, since my brief dealings with that scheme, I havebeen invited to take part in some fantastic shows including Collectible, the inaugrual show with ZeitgeistArtsProjects. I have also managed to startselling a few bits of work here and there so it seems even more appropriate that I putmyself in a position where I am able to dedicate the majority of my time tobeing in the studio. My big fat mess of a studio. Here's a link to an article about my studio on Creative Boom which will give you some idea of what a state I let it get into.

A mobile phone tour of studio before 'Operation Get Packing' commenced.

After 4 glourious years of being there, I sadly handed in my notice at the Streatham Hill studio justbefore Christmas. I was not convinced it was totally the best plan I have ever had. I returned afterthe festive break only to find that the local vermin had taken up residence in mystudio and they were all having a jolly plump time at the expense of my poor oldmasks, the ones with the bagel eyes - they were all munched to varying degrees ofblindness with only the exception of the bagels I had made myself! So, with thisin mind, I decided I had probably made the right decision and decided to crackon with packing.

Rodent capers -

A mouse damaged Witch Man Tree Daemon mask.

Even the other witches and aliens weren't safe from the furry plague.

The fuzzy buggers even ate my Aloe Vera plant, roots and all.

With their busy little teeth never tiring, nothing was safe from the vermin rampage.

A witch, blinded by greed. Incidentally, I took her nose off to use on another mask.

The mice had no need for it.

And for dessert, they were quite partial to my value biscuits, the rotters.

Splat the rat!

Noword of a lie, it has taken my literally weeks to achieve this move. Partly becauseI loathe moving so much and was consquently prone to much procrastination and partly due to having so much stuff to sort through (I say partly, it was mostly due to all the stuff I have hoarded). I often got sidetracked. This was because, for example, I had just found some old sketchbooks thatneeded looking through, or perhaps a small bit of unfinished work that neededfinishing immediately - you get the idea.

Happy packing.

Shelf stacking.

Etc,

Etc.

The first load, ready for take-off.

Distractions -

My potter's wheel and as far as I'm aware, the first one ever to appear at the Frieze Art Fair.

Eat your heart out MOMA - I've got the art handling skills I need to see me through.

I took a distraction break to pulp some unwanted paperwork.

This hazard tape proved particularly distracting - look!

Ironically I ran out of brown packing tape on numerous occasions.

Friends came to help.

Rolls, and rolls, and rolls, and rolls, and so on.

My main ingredient - paper with news on it.

Floor! A rare sight indeed.

Pigeon.

Back to the pack -

Phase 2.

I even patched up the floor, a bit.

I'm going to miss sitting on my big shelf.

Second payload, ready for take-off.

I didn't just hire a van...

...I hired a Rocket Van.

Gone!

More gone!

Destination - empty building.

Arrived!

Itis with great delight I can now officially announce I have moved. Now for themassive unpack!

London? Never heard of it.

Blog to Flog

2012-01-03T19:10:00.001Z

So the New Year has finally kicked off and 2012 has actuallyfailed to disappoint. As I sit here at home administrating my way throughhundreds of images of my work, whilst ignoring the tax return gradually sprawling acrossthe wooden floor, the weather has gone from atrocious to abominable. Precipitation is entering this crumbling housefrom every weakened crack and crevice it can possibly find. These conditions have trulyconfirmed that my tasks for today shall be house bound. Mind you, the accounts have beenput on hold as I have chosen to write up this blog.

The first thing that is of note for my 2012 is a studiomove. I have, somewhat sadly, handed in my notice at the ASC site in StreathamHill with the intention of shacking myself up in a shed or similar such outbuilding somewherein the darkest heart of Suffolk for a few weeks, or months, depending on howthings go. I have been toying with this idea for a while and, for one reason oranother, have not actually managed it. So now, I am committed. This also means I amnow confronted by the daunting task of tidying my studio and moving, both ofwhich are formidable nemeses. I hate moving; in fact it is one of my leastfavourite things. As you can see it's going to be quite a task.

So, with this in mind, I thought it might be a goodopportunity to have a bit of a sort out and put a few pieces up for sale on myblog. The intention being to help clear some space, raise some funds to put towards new workand give me a chance to touch briefly upon some of the aspects of my work. Also,there seems to be varying opinions on selling art online so I thought I would give my own way a try on see what happens.

---

To begin, I have a real passion for making and the majority of mywork is all hand crafted and by my own fair hands. There is an interesting discussionthat often takes place around this idea of the artist and the making of theirwork. David Hockney has recently taken aswipe at Damien Hirst and his use of assistants as the two prepare for major shows due to open at the same time later this year, as the Guardian reports. This ideaof the artist’s involvement is an important aspect for me, partly because Icannot afford the staff and partly because I love making my work too much toexport the pleasure out to someone else. I am devoted to making and have beenactive in the process for all my life. The materials I use are mostly foundobjects. I am quite opportunistic in this sense. My work is more often governedby what I find than by what I intend to say. With this in mind I shall now lookat a few examples of some recent work.

Bar

One of the larger examples of my work is the bar Iproposed to make and then fabricated for the opening of The Residence Gallery’snew space on Victoria Road, E8. I had intended to use the bar as a vehicle todisplay other smaller aspects of my work on. I have many decorated empty ginbottles and soft drink cans that I thought would benefit from some form ofdisplay cabinet or furniture. The structure is made entirely from cardboardwith a thick shell of multiple layers of paper pasted over the skeleton. I loveproducing work this way as it allows for the imperfections of the making process tobecome part of the final result. My work, for various reasons, seems to lurk inthis grey area between the crude making processes and the expert results of a professionalmaker. The end result is satisfyingly sturdy for a construction made from such basicmaterials. Although intended as an art piece for display, it would easilysurvive the occasional outing as a functioning bar. See how I made the bar on my Facebook Page.

Bar - card, paper, glue, paste, varnish. (RESORT @ The Residence, Ingrid Z)

approx 100cm x 100cm x 50cm

£700

Bar (work in progress) - card, papar, glue, paste, varnish.

Wire

Another aspect of my work that occurs quite frequently could be described aslow fidelity sculptural trompe-l'œil.The following examples of this use string which is crafted to, at first glance,look like barbed wire. I often like to fashion my work with this double take effect. It is important to me that I make the work appear immediately obvious but will only reveal its secret ifcloser attention is paid.

Coloured wire in box frame - string, glue, paint,

card, brown paper, varnish, screw, altered picture frame.

38cm x 31cm x 10cm

£235

Here the wire hasbeen painted in various different colours and presented in a box frame. The boxframe is made the same way as the bar from card, paper and paste. It is a simpleflat picture frame that I have changed and altered through this making process.

Untitled - card, paper, paste, string, glue, varnish, plastic gems, fixings.

Dimensions not known at this time.

£300

Here it is used as part of an installation from a performance

Untitled 2011 (In October 2010 the artist Mark Scott-Wood cast a spell to bring him luck in his career. Something went wrong) - mixed media installation.

With thisuntitled piece the wire had been used in a structure based on a small sectionthe perimeter fence of an air base located near to Rendlesham Forest, near towhere I grew up. I have used this location and its history in past works whichI have discussed previously on my blog. For me, the idea of a broken section of the fence harks to escape and freedombut also has the opposing possibility of intrusion and danger. Again, thestructure is made of card and paper and the work shows evidence ofimperfections of my making process. The final coat of varnish also has a few tinyorange and red gem-like objects stuck to it that glisten and are spotted by afew eagle eyed viewers. These are a little nod to the Rendlesham Forest Incident in which a UFO is reported to have been spotted in the area inthe 1980s.

Untitled - board, string, glue, screws, varnish

30cm x 30cm x 9cm

£135

This piece ismore of an experimental look at ways of using and displaying my wire. The boxis made from oriented strand board often seen surrounding construction sites.The wire has been displayed in a way that suggests some form of symbolism.

Objects

This is a spinoff and development of works I started making during my post graduate study atByam Shaw School of Art. I was looking at ways of making objects refer to several possiblethings at once. One of these objects I made from an egg box and two cardboardtubes from inside toilet rolls. The end results are left open to interpretation. Strangely men more than often see thisas a car and women will usually pick it up as if binoculars. Here I havedeliberately played up to the car idea and displayed it on a stand, again madeof paper and paste.

One Hot Rod - found objects, cardboard, brown paper, paste, varnish.

19cm x 19cm x 14cm

£135

Posters

This is from anongoing series of poster works. Layers of paper are pasted together and thenlayers of white gloss paint are applied on the back of the poster. This creates a solid structure likevery thick card. The front then has a statement or phrase painted onto it.These often refer to feelings or emotions about love and loss. This one hasbeen damaged by a gallery that hung it incorrectly and it has warped slightly. Because of this I am offering it at half the normal price. It is a real shame as I spent several days trying to dry it flat which is by no means an easy task on a studio floor that not far from absolute zero! I still like how it relatesto the idea of these works being something camparable to a poster on abedroom wall to the mass of images pasted on top of each other on billboards and thelike.

Poster - paper, paper, paint. 2011

124cm x 88cm

£125

Witch Man TreeDaemons

This idea of building up layers of paper has also beenused to create these collages to accompany the ongoing and developingcharacters of the Witch Man Tree Daemons. They have made several outingsrecently in various performances at various events including an opening evening at Kate Malone's studio. The collages are produced from print outs from afaulty 3-in-1 printer. Partly as I like the idea of the images not beingperfect and partly as testament to my struggles with technology and the accuracyof process. Also, the images are cut and pasted the traditional way, withscissors and glue. The background to the images I have taken myself. They arescenes, again, from the forests surrounding the area where I grew up. Theimages of the figures I have found on the internet. One of my goals for the NewYear is to build up a portfolio of shots of life models to use in the collages soI have total authorship over the images used. I have also lined the backs ofthe collages with jute to give an element of texture. I want these collages tobe handled and have feel to them. The story of the Witch Man Tree Daemons isstill evolving and I am hoping this year will see their history become clearer andtheir characters more determined.

Posters

Witch Man Tree Daemon (Death Bowl player) - poster made from multiple layers of paper,

paste, paint, varnish and polish, image created with a faulty 3-in-1 printer with jute backing.

80cm x 56 cm

£300

Witch Man Tree Daemon (with baby) - poster made from multiple layers of paper,

paste, paint, varnish and polish , image created with a faulty 3-in-1 printer with jute backing.

109cm x68cm

£450

Witch Man Tree Daemon (with baby) - poster detail

A3Collages

Witch Man Tree Daemons (rutting near a parasol) -

A3 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

420mm x 297mm

£160

Witch Man Tree Daemons (wrestle naked next to a ripening gourd) -

A3 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

420mm x 297mm

£160

Witch Man Tree Daemons (wrestle next to a hatched gourd in the orchard) -

A3 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

420mm x 297mm

£160

A4 Collages

Witch Man Tree Daemons (wrestle naked in the gourd arena) -

A4 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

297mm x 210mm

£130

Witch Man Tree Daemons (wrestle next to a hatched gourd) -

A4 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

297mm x 210mm

£130

Witch Man Tree Daemon (by dwelling) -

A4 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

297mm x 210mm

£130

Witch Man Tree Daemon (Death Bowl player in forest habitat) -

A4 image created with faulty 3-in1 printer on multiple layers of paper and backed with jute,

varnished and polished.

297mm x 210mm

£130

For further information or details on the works feel free to contact me on info[at]markscottwood[dot]com

Keep up to date with my studio move on
Twitter: @markscottwood

The year that was 2011

2011-12-30T20:16:00.001Z

It is nearly the end of the year and hasn't it just been a shit! The Millenium has taken its first dump of the Century. It has not just been tough for me but it seems many others I know have had quite a rough time of it too. Perhaps you share these sentiments. This said, it has not been without its good points and in theinterests of trying to remain positive I thought it might be good to trawlthrough what I got up to over the last twelve months and highlight some of the more successful moments below.

SHAME: Collectable Lingerie byArtists

Then the eyes of both wereopened, and they knew that they were naked…

SHAME SHAME BABY
THE SHAME SHAME
WE LIVE FOR THE SHAME
SHAME BABY THE SHAME
ISN’T IT A SHAME SHAME
BABY? A SHAME SHAME
IN IT FOR THE SHAME SHAME
BABY THE SHAME
SHAME

COLLECTABLE LINGERIE BY ARTISTS
Curated by Ingrid Z & Kiki Claxton

RHOSLYN BUTLER / ALEXANDER HEATON/ CHRISTINA MITRENTSE / DANIELLE DRAINEY / INGRID Z / JAMES DAW / JONAS RANSON/LAURA MAY LEWIS / MARK SCOTT-WOOD / ROBERT HAWKINS

What a start to the year, naughty knickers at The Residence Gallery. For this show I created a series of 3 vests with ominous gold stains. Alongsidethese I included a series of T-shirts I had hand drawn on a while back. Thewonderful Ingrid Z also requested some of my 'Jewels' for the show and I wasdelighted that the infamous necklace got its first public airing.

Click here for a Valentine article featuring the show

Jewel - semen, setting agent, glitter, chain, display stand

T-shirt - detail by hand with laundry pen (edition of 5)

Vest - vest, gold acrylic paint, laundry pen (edition of 3)

Sisyphusthe Absurd Hero: Part 2

at HatchSpace

Part I : NICK Bailey / Alexander Bates / Jim Bond /Rodney Dee / JooHee Hwang / Matthew James Kay / Rachel Price

Part II :Hannah Biggs / Patrick Goddard / SibyllaMcGrigor / Candida Powell-Williams / Mark Scott-Wood

From the press release -

Independent curator and artist Rachel Price drawstogether the work of 7 exciting UK artists presenting new sculpture and videoresponding to the Greek Myth of Sisyphus. The exhibiting artists all explorenotions of the absurd, futility and circularity in their practice whilstsimultaneously displaying an immersion in the process, be it material orconceptual.

In Greek mythology Sisyphus was the king who forhis crimes was subjected to the ceaseless task of pushing a boulder up amountain only to watch it fall down the other side, and to repeat this for alleternity. However, it is Sisyphus whose approach to his hopeless fate thatrouses interest and why the myth is so frequently revisited in literary andartistic interpretations. The French Absurdist, Albert Camus, refers toSisyphus as The Absurd Hero concluding that:

“I leave Sisyphus at the foot of the mountain! Onealways finds one’s burden again. But Sisyphus teaches the higher fidelity thatnegates the gods and raises rocks. He too concludes that all is well. Thisuniverse henceforth without a master seems to him neither sterile nor futile.Each atom of that stone, each mineral flake of that night filled mountain, initself forms a world. The struggle toward the heights is enough to fill a man’sheart. One must imagine Sisyphus happy”.
Albert Camus, The Myth of Sisyphus (1942).

For this I had originally intended to display awork consisting of 60 alarm clocks but due to the restrictions of the space Icould only show ten. I just have to say the guys at Hatch Space were, and I'm sure they stillare, bloody amazing. Big thanks to Alastair, Rachel and Shelby for having me in the show and for all their awesome help setting up the work.

Click here for more images on their Flickr site

Untitled (60 alarms clocks each one a second slower than the one to the left of it)

The Art Party at Mol’s Place

BEDWYRWILLIAMS / PAUL SAKOILSKY / KATE HAWKINS / ELOISE FORNIELES / RICHARD PARRY /MARK SCOTT-WOOD / SIMON TYSZKO / OLIVER ASHTON / THE RODNICK BAND

The Art Party invited me to take part in their inauguralevent. I was absolutely delighted. The evening took place at Mol's Place, thehome of art collector Jan Mol and having known Jan for a while it was also anextra joy to have been asked to take part.

The event brief was to create something along thelines of one of my previous performances that took place at the NationalPortrait Gallery at the end of 2010 A performance falling somewhere along the lines of a protest

The idea of the protest or parade for the party Iwanted to work as a follow up to the spell I had cast at the Rhizomatic exhibition with The Departure Gallery in October of the previous year. I looked for inspiration bywatching The Wicker Man (1973) and looking for ideas of pagan festivals but mostly because of its amazingly dark twistedending. After some weeks of pondering I decided the way forward was to lookbeyond the spell having been a success and bringing me luck in my career andlooking at possible outcomes of Witch (a spell cast to bring the artistsuccess in his career) if it had gone wrong. What if the magic backfiredand had brought my art to life? With this in mind I created four witches. Each oneof these four witches had characteristics that each reflected a different element of mystudio practice. Alongside this there was a soundtrack to cue the performers as they entered and made their way around the venue, the soundtrack can be found as a playlits on Spotify. Also, just before the witches entered, a percentage of the audience were given animal masks to wear during the precession as a homage to the procession scene from The Wicker Man. Watch a clip of it here.

Photos by Katie Poole

2Wet at Stew

This exhibition at Stew was a follow up to WET which sawthe first incarnation of the sculpture VT2866.

VT2866 -parcel tape, cardboard boxes, potatoes, mushrooms

Following on from this idea and, having had a recentpep talk down the pub with Maria Stenfors, I planned to create an installation that would bereminiscent of the Rhizomatic spell casting but, for the first time, introducingthe idea that the spell had gone wrong Untitled2011 (In October 2010 the artist Mark Scott-Wood cast a spell to bring himsuccess in his career. Something went wrong). I was very pleased with theresults although I did attempt to cover a second-hand suit in brown parceltape to wear on the opening night but failed miserably when taping around the crotch.

Attackthe Block Party at Latitude

The summer saw a return to Latitude for a follow upof the Alien Art Hunt from 2010.For the Attack The Block Party I was invited by Noise of Art to create a series of charactersfor an evening in The Film and Music Arena. The evening included dances from The People Pile and live music from Lighthouses. The aliens are a bit of a deviationfrom my usual work but it does relate suitably well to certain themes that runthrough what I do. I am hoping that next year will see these loose ends alltied up or at least starting to knot together. To see a complete album of theevent click here.

The BadArt Salon for The Vintage Festival

at The Royal Festival Hall

I also had the dubious honour of having workselected for the Bad Art Salon at the Vintage Festival which this year tookplace at the Royal Festival Hall. I made a couple of pieces for it butunfortunately one of them was deemed too good to make it through to the finalselection. The event is a tongue-in-cheek look at what some people may deem to be bad art. Those taking part range from keen hobbyists to students and professional artists. It is a great opportunity to indulge in some kitch versus high art debating. My particular favourite was Cliff Richard Art that I would happily argue pretty much comes as close to pure genius as you can get.

Witch Vs Alien (work in progress)

Deer Witch Head Trophy Daemon

The Art Party a Farewell to Mol’s Place

Goodbye Leopold / Aimée Neat / Bryn Philips and The Big Society /

Christina Mitrense & Jonas Ranssøn / Luke Pomphrey / Myles Donaldson/ Mark Scott Wood

Later in the year the Art Party invited me back forthe farewell to Mol's Place. A big thank to Katy, Melissa and Aimée. I used this opportunity to pull out all the stopsand wanted to attempt to bring together some of the main elements that had been runningthrough my work throughout the year. I also wanted to focus on the Witch Man TreeDaemon who had made his introduction at the first art party as one of the original witches. This seemedmore than appropriate.

The installation involved a few elements of pastwork and these were all brought together to create the piece Witch Man TreeDaemon (after a forest disturbance). The idea was based on recent riotingand looting that had taken place in London and around the country a few weeksbefore. The installation involved a life model that acted as a living sculpturethat would on occasion interact with the audience. This interaction took aninteresting twist after the free bar took effect on the poor Witch Man TreeDaemon and he proceeded to wander around the party completely billy bollocksnaked.

There have also been quite a few other events that have taken place in between these ones but I thought I would just highlight the onesthat have been particularly successful, a pleasure to do and have somerelevance to work I would like to focus on in the coming New Year. One the mainaspect of this year that I see having great potential is the development of theWitch Man Tree Daemons. It is been absolutely amazing to see this character evoling before my eyes. The Witch Man Tree Daemon also had a rather pleasantevening as guest of honour at the launch evening of Kate Malone's open days at her home and studio. Click here for an album of hisguest appearance. There is also an interesting series of collages developingalongside his story. Click here for a look at these. Ithink that must be about it for one year. The final thing that springs to mindthat I would like to mention was my commission to make some morebanners for GAGGLE and their performance of The Brilliant andThe Dark at The Royal Albert Hall. There's an article about it in Notion 055 pages 82 - 85. I'm looking forward topotentially collaborating some more with Deborah and her girls.

Work in Progress on the GAGGLE banners.

So, that was the glitter I rolled on the turd thatI call 2011. Next year will see me trying to hone down some of these ideas with morefocus and intention on the final results. There are already some exciting plansand shows in the pipeline that I cannot wait to get stuck into. Watch this space formore details and have a Happy New Year!

The Sebaceous Landscape

2011-12-19T13:25:00.002Z

I have a strange fascination, and aversion, to faux human pink. That shade of pink applied to colour objects intended for use with, on or alongside the human body. That shade of pink that attempts to mimic skin tone such as the hue of the humble sticking plaster, in particular, waterproof ones. They have that slightly ominous sheen to them, a bit greasy, sweaty or moist.

This strange attraction also extends to similar attempts of fleshy pink false bits such as prosthetic limbs. Nowadays they are hitting on near convincing but as I child I remember how the tone of the artificial was never quite correct.

Of course, I cannot omit a particular favourite, the fake phallus, all in the slightly wrong shade of pink but engorged and raring to go.

I am not sure where this enthralment for pinky wrongness comes from. Possibly it goes back to a childhood of grazed knees and elbows, covered in yards of fabric sticky plaster attempting in vain to conceal the pain. The hours spent sneaking a peek under the masking strip, staring at the healing process, have somehow distorted themselves in my memory and are itching to be released.

This runs parallel to what I guess most would consider an unhealthy fixation for blood, pus and gore. A couple of websites, introduced to me recently to indulge this pleasure, are www.zittube.com and www.bestgore.com both of which are probably not for the faint of heart but you are all meant to be grown ups now and I think the website names give a pretty good idea of what to expect so if you think you’re hard enough, get peeking.

Now, somewhere between all the sterile phony pink body bits and, the pus and blood of an infected reality lies an area I want to create, explore and nurture; the idea of the diseased prosthetic. I’ve dabbled with this in the past. I remember making a small diorama of my tonsillitis in a box frame whilst recuperating from the illness during my degree years. It was all red and sore looking. I have also started looking at body parts painted in this lurid pink with the likes of You’re Hairy Armpits.

I think, for me, the theory here is to combine these two visual subject matters, which leave me rather on edge, and create some new form of disconcertion. I suppose there is always the possibility of the two cancelling each other out and generating some new striking panorama of beauty but not if I can help it. It is just the very start of The Sebaceous Landscape series but I am hoping it has potential to go on, and maybe, really get under peoples’ skin. It might be the prosthetic alternative to Francis Bacon’s meat platters.

Francis Bacon (1909-1992)

Three Studies for a Crucifixion, March 1962

Oil with sand on canvas, three panels, 198.1 x 144.8 cm each

Sebaceous Landscape with Ejaculatory Anhedonia (detail)

multiple layers of household emulsion on stretched canvas,

varnish, semen, setting agent, glitter, cotton. 2011

300mm x 240mm

And for a little watch of The Sebaceous Landscape in a breeze click here

That poster!

2011-11-15T20:14:00.000Z

Well I've been a bit shit at this blog crap haven't I! This is partly due to the fact that this year has been a total horror and I've not really felt like spewing the contents of my spleen all over my precious web space. This, however, has changed. I have sussed out what's behind this annus horriblis. Now, it might well be something to do with 'Witch (a spell cast to bring the artist success in in his career)' which I performed just over a year ago. I have since done a series of performances to follow on from the idea with the tag line 'something went wrong' and indeed it did but that's another blog post entirely. Or perhaps the reason I've gone and blown the dust off my blogspot is due to the cheeky cider I had after/at work with all its pressed appley goodness triggering my creative word juice gland though I'd have to argue that it's far from my first farmhouse cider of the year so I think we can happily rub that off the hypothesis blackboard.

Actually I put it down to this, that poster!

The iconic poster that heralded the birth of 'the new man'. Well, apparently it is cursed and I've only gone and appropriated it as an artwork and I guess the curse has jolly well gone and rubbed off. The stories of all involved with this image is an interesting one and somehow almost predictable with hindsight. So having trawled the internet for the 'facts' I've pieced together a story that I shall now regale.

The image was taken in 1986 and the idea was conceived by Paul Rodriguez who by all accounts was from homosexual and this led him to be diagnosed HIV positive and die from AIDS in 1993.

The photographer, Spencer Rowell, did somewhat better, for a time, and went on to make thousands after refusing a one off payment and settled for taking 10% of the profit made from selling the poster. He used all these huge bundles of dollar to fund a lavish lifestyle which unfortunately developed into a drug addiction. In 1994 he declared himself bankrupt. My advice at this point to all my creative chums would be not to settle for that one off payment, unless of course you're already an addict in which case I say take the cash and, whilst your at it, grab granny's purse before leggin' it down to the nearest corner shop dealer man.

Next, the 'new man' Adam Perry. He didn't do so well in the financial stakes. By all accounts he got fifty quid for the shoot, this was half what he'd expected to get as they zapped his pay cheque in half because he'd only gone and got himself sun burnt the day before (it's a black and white poster, don't shit me Sherlock). He may not have made a mint but he certainly made up for it with the ladies claiming to have bedded down with over 3,000 'alright darlings'. GQ magazine gave him the dubious honour of "The Worlds Most Promiscuous Man". Imagine that, sleeping with the guy off your bedroom wall. I had a poster of The Incredible Hulk on my bedroom wall and I'm still waiting!

This cursed poster is also probably to blame for Athena's downfall too. Hell, why not! The Athena chain eventually went into receivership and by 1995 all but a few of its 157 stores had closed down.

The only person that seems to have fared well out of the whole thing is the baby, Stelios Havatzias. In 2004 he was traced to his family home in Cyprus, where he lived a normal teenage life and is now studying law. He was only paid £32 for the whole shoot and his family weren't even given a copy of the poster. They had to buy it themselves.

So what's this all got to do with my career being doomed to curl up its toes and up its tits? Well this -

The Witch Man Tree Deamons off shooting from the 'Witch...' performance have combined with the curse of L'enfant and are now just one Black Magic short of a chocolate box of full of disaster.

Attack the Block Party

2011-08-01T21:41:00.000+01:00

Summer 2011 saw the return of the aliens at Latitude for the Attack the Block Party -

"Noise of Art continues its evolving retro-futurist sci-fi journey, UFO, with ‘Attack The Block - party’, a twisted new chapter inspired by Joe Cornish’s newly released film - warped around Suffolk’s UFO Rendlesham incident."

"Connecting the Seventies, an era of classic sci-fi imagery and seminal New York disco nights – also known as Block Parties – with today’s club scene, ‘Attack The Block – Party’ features a disco-tech sound track from some of the most revered pioneers in electronic music - and some of the newest arrivals."

Close encounter of the first kind.

Close encounter of the second kind.

Close encounter etc etc blah blah spaceship anal probe.

Alien hunters scan festival goers just to make sure they've not been contaminated

This man's guarding a big jelly...

...because there's an alien in it. It's the John Hurt of gelatinous actors.

The People Pile provide a superb display of dance and movement.

Lighthouses provided live music and coincidentally no ships crashed into the arena.

Fantastic shapes from The People Pile.

Did you see strange lights in the sky?

It's only the Moon

Invasion.

Encore.

Late Shift

2011-02-04T10:54:00.001Z

How do! It's piccy time again. Thought I'd post some images from the recent performance A performance falling somehwere a long the lines of a protest I did at The National Portrait Gallery in December last year. Thanks to everyone who helped out and got involved. It was a great evening and we even managed to not set off the fire alarms and sprinkler system which can only be a blessing, sighed all the portraits.

(Images by Anthony Luvera)

Laugh or cry?

2011-02-01T14:20:00.000Z

Some days just don't go according to plan. Having said that, this day didn't really have a plan but it still managed to go quite astray. But, it did inspire a little visual piece I would to share with you all.

I am toying with the idea of getting a set of postcards printed up. I'll send you one if you'd like.

No theories in this chaos.

2011-01-13T18:24:00.001Z

Thought I'd let you have a little glimpse at the various states of my studio. Enjoy!

Pressing

2011-01-04T11:52:00.001Z

Just thought I'd post a little 'just for fun' article -

Can anyone guess what year it was?

Me as...

2011-01-03T12:36:00.002Z

Well a sleepless night has seen me up early and taking to my blog. I am kind of hoping 2011 will see me being a bit more bloggy like this but I do struggle with such things. When indeed I actually do get round to it though, I'm going to use it as a platform for getting my random thoughts and waffles out and kicking about, a bit like this one -

So, anyway, during my restless hours I was thinking about various projects and work I've started on but that have not reached anywhere near their full potential or conclusion. I have filing cabinets of ideas that have yet to see the light of day, and also a brain bouncing about too many thoughts per second. One of these projects, in particular, is a series of self-portraits I'm calling the 'Me as...' series. The original idea came from a hungover morning in the studio in which the work below was created.


Me as a c*nt

I was probably meant to be working towards some other deadline but, as often happens, felt the need to do something slightly more spontaneous and painty. This is what came out of me on this bleary-eyed morning. The painting is about 6 feet in height. It is meant to be roughly the same size as me. Beyond that I can not really say where it came from or what it is really about.

After a while I did a follow up work. The subject of the work was determined by the last person who had sent me a text message on my phone whilst I was sat in the studio thinking of who I could paint.


Me as you

After this I toyed with the idea of a series of portraits of me as my friends. The next one saw me taking the 'concept' one step further by painting me as someone who was dressed as someone else for the purposes of a fancy dress party.

Me as you as her

The idea of portraying myself as friends, I like to think, reflects the influence they have on me. It is like my way of a thank you and acknowledgement for their help and support. In my head I have many versions of these for individuals that I hope, at some point, I'll get round to creating.

As a little spin off to the friend portraits, whilst working on an event that involved the public bringing in unwanted objects to be changed, altered and reproduced as something new, I took the opportunity to do a 'Me as...'. The inspiration came from a postcard of Miss Piggy which someone had left. The idea of taking icons from my childhood and recreating myself as them in a childlike fashion appeals to me.

Me as that dampig

I'm not really sure what I was thinking with the title, Me as that dampig! What can I say, I like making words up.

This sent me off on a bit of a tangent. Again, I can never be to sure where some of my ideas come from, but I ended up with this after another painting session.

Me as a sex pest

On occasion I'm rude because, on occasion, life's rude.

The most recent was done for the club night Freaks which was at the time held at The George Tavern in East London. It is of Angela and Schwa who work under the name of Schwange.

Me as the Schwange

This year I do hope to get churning these out. Having taken sometime to think about their format I have decided that from now on each 'Me as...' will be exactly the same dimensions as me. I am going to cut out a template of myself by getting someone to draw round me whilst I'm lying on the ground. This is something I remember doing a lot as a child and these elements of play are very important throughout my work.The other aspect I want to sort out is the facial features. I originally had hoped they'd be a bit Play Mobil and I think this is the route down which I shall take them, again the reference to childhood is important. I believe I spent much of my childhood playing with these figures...

Fairy with Unicorn

...butch cowboys and indians though!

Living and Giving

2010-12-28T22:47:00.014Z

On the 18th December 2010 Mary Portas opened her new Living and Giving shop for Save the Children in Primrose Hill, North London.

'Mary’s Living and Giving isn’t just a shop, it’s a place to inspire, share, create, meet and discover.

Living and Giving is a philosophy, a fabulous way for you to contribute to your community, help some of the world's most vulnerable children and bag yourself a designer bargain at the same time!

A mixture of high quality personal donations, samples direct from designers and work from local artists and craftspeople, the Living and Giving concept is alive and constantly changing – no two visits are ever the same.'

The shop is a very swanky take on the charity shop. The Primrose Hill shop is based around the idea of the home with a reception room, living room, library and conservatory.

The shop, as well as taking the normal donations of high quality items of clothing and bric-a-brac, is also selling work made by artists from the local area. I am lucky enough to be involved and have donated a couple of pieces for the opening.

Work in progress on one of the pieces

This work is intended to be an ongoing series for the shop. Each one handmade, numbered and unique. If you fancy owning an original MSW and helping out a good cause then go visit the shop and see what they've got in stock.

Also considering producing my string barbed wire as an ongoing series but I will wait and see what the response to the first batch is that I have donated.

So, apart from my art, there's some lush stuff in the Living and Giving shop. Go have a look. Fingers crossed I'll be able to keep up with the demand!

The Summer of the Inevitable

2010-10-12T14:22:00.016+01:00

This summer has been the summer of the inevitable as you may or may not have noticed. Let me explain further. Earlier this year I was commissioned by GAGGLE to create them a set of banners and flags for their summer gigs and festival dates. GAGGLE are a twenty or so piece girl choir with head dresses and an attitude. In thier words 'An alternative to burlesque, shit tv and bad boy band watching'.

GAGGLE - I Hear Flies

The NME like them, Huw Stephens likes them and I like them. Just before the summer I had discussions with the marvellous Deborah Coughlin, head GAGGLE. We finally decided to use the slogan 'This is merey a distraction from the inevitable' on the main banner with two smaller banners with GAGGLE on and a selection of various flags for the waving. The final result looked something like this -

GAGGLE at Latitude 2010

The band and banners have, this summer, managed to make their way to various festivals including, Latitude, Reading and Leeds, Vintage at Goodwood and Bestival to name but a few.

As well as GAGGLE touring around the country with a set of banners, I myself have been parading around with a set of my own which I originally made for the choir's single launch.

Little London Fields Festival 2010

Walkabout at LLF Festival 2010

Pier Day, Worthing 2010

In the window at Studio #205 (now The Cob Gallery), Camden 2010

Freaks at The George Tavern 2010

Have you seen them anywhere? If so let me know and if you have any photos of them, then even better. Stick any links in the comments box. And remember, this is merely a distraction from the inevitable.

Rhizomatic

2010-10-09T17:16:00.023+01:00

Rhizomatic

1st October - 12th November 2010 by appointment

Private View Friday 8th October, 6 - 9.30pm
(free taxi shuttle from Southall)
Address: Departure Gallery, 5 - 6 Boeing Way, The International Trading Estate, Brent Road, Southall, London UB2 5LF.
Rhizomatic is an experimental, decentralised curatorial system based on the concept of the Rhizome, as explored in Deleuze and Guattari’s philosophical masterpiece A Thousand Plateaus. This is Departure Gallery’s largest and most ambitious show so far and includes work by over two hundred artists exhibiting in 100,000 sq ft of warehouse space.
Selected artists associated with Departure Gallery were each invited to choose up to six artists to exhibit alongside them. In turn, this second generation were encouraged to invite a further six participants, making a third generation, who could then invite six more. This six-link structure was inspired by the idea that all humans are connected by ‘six degrees of separation’.
A rhizome is a sprawling, unhierarchical system of connections that are constantly in flux and can spring up at any moment in space and time. This exhibition does not seek to fix the rhizome by presenting it in a finished form, but, rather, it represents an attempt to freeze a moment of this rhizomatic process in the interests of examining its structure more closely. Furthermore, the show aims to catch a glimpse of the creative networks within which Departure Gallery’s artists operate, in order to locate ourselves within the wider art world.
"Principles of connection and heterogeneity: at any point a rhizome can be connected to anything other, and must be... A rhizome ceaselessly establishes connections between semiotic chains, organisations of power, and circumstances relevant to the arts, sciences and social struggles." Gilles Deleuze and Félix Guattari, A Thousand Plateaus.
This rhizomatic structure has particular resonance in the context of The International Trading Estate, which is a hub of haulage and distribution companies sorting and transporting goods in flux between producer and consumer.
The exhibition will not constitute the end of the rhizome, because a true rhizome has no beginning or end, but is ongoing and unlimited. Each artist involved will continue to make connections during and after the exhibition through the contacts and ideas that emerge as a result of the show. This opens up the possibility of creating a larger sequel exhibition at some point in the future. Who knows where this will go and what might result?
Louise Ashcroft, Curator.
Getting There: Take national rail from Paddington to Southall (14 minutes) then buses 105, h32, 105 or 482 to Brent Road. On the private view night there will be a free taxi shuttle from Southall Station between 6pm and 9.30pm- turn left out of the station and follow the signs to the shuttle stop.

For more information please contact LouiseAshcroft@DepartureGallery.com, 07861 375101.

Witch

(a spell cast to bring the artist success in his career)

& the facts behind the reasoning.

For the opening of the exhibition I have cast a spell. The spell was not all smoke and mirrors, sparks and bangs, frogs legs and newt eyes. It was more a quiet, personal and meditative experience with candles and glitter! The props remaining from the event were left in the warehouse as part of the ongoing exhibition.
The spell, or work blessing, was my interpretation of one taken from a book I found a while back in a dusty fusty old second hand shop. It came from the chapter entitled 'Fame and Fortune'. It is designed to bring you success in your career for the coming year. As with magic, this performance had much symbolism imbued into its structure, the timing in particular had great relevance to my current circumstances.

(Why not give it a go!)

So in brief, it was about this time last year I was successful in an application I made to be part of a group show at The Elevator Gallery in Hackney Wick. Tales that Witness Madness was to be my first show since completing my postgraduate studies at Byam Shaw School of Art. During the period after graduation I had spent my time working in the studio on new bits and pieces without little thought of exhibiting or exposure. The success of this show inspired me into a new concentrated phase of actively seeking out exhibitions and events to become involved with. One of the first shows I took part in, that came out of this phase, was an exhibition in March 2010 with The Departure Gallery. For The Middle of Nowhere I made one of my largest on site projects so far. The space that was available allowed me to break free from the size constraints of my studio and stretch my legs a bit, so to speak!

When the Moon Disappears (card, parcel tape, potatoes, mushrooms)

Spring 2010 saw the start of what has been one of my busiest years, in terms of exhibiting, to date. It is marked by the fact that after exactly a year since being in the group show, Tales that Witness Madness at the Elevator Gallery, I am also taking part in their next show, Vanishing Point, opening later this month. Having worked hard for a year, focusing on exhibiting and exposure, I thought to myself 'what could a gage my progress?' This was soon answered when The Departure Gallery got in touch to invite me to take part in a most ambitious show, Rhizomatic. This is the first show I have been asked to participate in by invite and not application. I see this as a significant step for my personal development and a positive result to all my work applying for things and generally making a nuisance of myself. Also, this significant step made the spell somehow more poignant, it felt like an appropriate time to cast it.

Other aspects, such as the time of year, Autumn, the time of change when the trees shed their leaves, the harvest has been reaped and nature goes dormant for the winter ready to spring forth new life in the new year seemed to fit well into the idea of what I was doing. I chose to use a bunch of grapes and a vine leaf from the garden, a bottle of cider and a decorated garland of ivy to represent this. In a way, I wanted the spell to mark the end of this stage of my career and to help pave the way to taking the next steps of my future.

My career was represented by a witches head, originally an alien from a previous installation (converted by clever use of a plastic witch's nose and hat) and a pile of business cards. I also took into consideration the other artists I had asked to participate. I saw this as a chance to involve a range of acquaintances from friends to people I had not yet met but were familiar with their work. The final list of confirmed artists I asked was Paul Kindersley, Russell Herron, Sarah Pettitt, Ralph Dorey and Corinna Spencer. From these artists the list increased by a further two generations seeing a total of nearly 50 artist joining me in my part of the rhizome. The network forming from this giving a nice little heads up to the process of networking so important to the art world especially at this level of career. This also ties in nicely with how I see networking at this stage of an artist's career, a process that you 'must' go through to achieve success; keeping in touch with friends from art school, making connections with galleries and curators and reaching out to meet new artists and make fresh art world contacts.

So to finish here's a short video clip of the end of the spell. My head does not spin round and there is no waving of wands. Fingers crossed and I guess...

...watch this space to see if it has indeed worked!

Will Work for Exhibition Submission Fee

2010-09-29T19:18:00.004+01:00

Pier Day

2010-09-16T08:03:00.012+01:00

A while back the awesome Dan Thompson, the Empty Shops Network genius, invited me to take part in this years #Pierday on Worthing pier. I was dead chuffed. A day out by the sea, on a pier, waving some gumpf around. The perfect Sunday. I booked myself an entourage to keep me company. There had been talk of 'doing a routine' with the flags but fortunately for all concerned with healths and safties, we didn't.

Did you know that you are not allowed to take things on the tube that are bigger than yourself? No, neither did I. Having travelled around London a few times with my banners and flags and never having been challenged before, this came as a bit of a surprise when Camden Town tube attendent #3 asked us something along the lines of 'you on tube with them?' After some rolling of the puppy dog eyes he let us on, just this once. Obviously he was hoping we had one way tickets.

So Victoria bloody station. Do you know it? What's the biggest thing there? Yep, the queue. Like some slowly ambulating clothed human centipede with a parental guidance, it squirms its miserable and arduous journey. The eternity we waited for tickets led to us missing the train to Worthing in the ever fashionable running hopelessly after it scenario, with two metre long wooden dowelling poles. A one man joust, perhaps!

Worthing! It's like Brigton but without the chaos. We found the pier jutting out into the sea. I was pleased to see they had painted it the same colours as my bedroom from childhood. How did they know? We strolled along it as far as we could. It was not a long way to the end of this pier that wasn't very short. The banner and poles were erected along the railings which run along the edge of the pier. Rather to close to the edge for my liking and the wind did cause me some concern. I didn't want to find a banner bobbing effortlessly out to sea upon my return. Who would swim after it?

I'm glad we didn't parade around with them as was first planned. The wind and a huge table cloth on a pole made something of a formidable sail. I was sure to be blown off had we attempted such a stunt! Merely just a distraction from the inevitable.

The Sun shone all day. Magnificent!
(Except for the gull poo. Banners now in the wash)

The Alien Art Hunt at Latitude Festival – UFO: Rendlesham Incident

2010-09-11T14:10:00.015+01:00

Latitude 2010 the 5th Edition took place this summer with a line up that included Florence and the Machine, Belle and Sebastian and Vampire weekend (Thursday 15th - Sunday 18th July)

As part of the festival Ben Osborne [Noise of Art] and myself teamed up to put on an alien themed event to take place over the course of the festival.

Where is my treasure? I know you're hiding it and using it for pleasure!

The theme of these events is inspired by a real incident that occurred in a Suffolk forest in the winter of 1980. Thirty years ago a hapless alien cruise ship landed in Rendlesham Forest next to a US Air Force Base. This was a mistake. The accidental tourist ship was supposed to be landing on the Mountain of Embarrassing Dreams. But the captain, having un-opposable hoofs, entered the wrong data into the ship’s satellite navigation, so they landed near Woodbridge instead.

the Story went something like this -

During the kerfuffle of getting away from the naturally curious US Air Force, priceless artefacts belonging to the alien tourists were scattered across the forests, towns and fields of East Anglia. Lying lost for 30 years (or a long weekend in alien time), the aliens have now returned to find the lost treasures.

The Rendlesham Forest Incident was reported to the MOD by Lt. Cl. Charles l Holt, the deputy commander of the US Air Force base.

So to kick off the extraterrestrial shenanigans the party started at midnight at the Film and Music tent with Severino and Ben Osborne (resident DJs at Horse Meat Disco and Slipped Disco respectively), My Toys Like Me and The 9000 combining to create the music, while The Immaculate Extremists, Overlap, Your Mum and Prick Image created the visuals and costumed performances. During this period a team of Alien Hunters patrolled the festival site looking for aliens and informing the public of the dangers of encountering the other worldies. Information was also handed out about the planned treasure hunt where earthlings were invited to take part in helping the aliens search for their treasure. Any successful participants would be rewarded with Earth art.

A poor alien being autopsied in the name of entertainment. What kind of savage rock are we living on?

(Click on image for more of the same)

The Alien Art Hunt -

For the next two days, the Faraway Forest played host to the eager and helpful in the crowd as they gathered to join the hunt for the missing alien artefacts.

The excited folks all scuttled around frantically in the forest like rabid truffle-hunting swines looking for any sign of the aliens' bounty. They had to be careful though as some counterfeit artefacts had also been lost in the area and they come with no reward. Upon finding a treasure they returned to Alien HQ to receive their gift of Earth art.

The artists who had kindly donated works to the event were -

I've listed all the artists in the order they became involved with the project. I recommend you check them all out. They are truly awesome and I thank them all for their hard work and contributions. It was a superb collection of work! What a great gift to take home from the festival.

May peace be with you whilst you live long and prosper all you nanoo nanoos out there and remember these aren't the droids you are looking for.

This is merely a distraction from the inevitable

2010-01-24T18:01:00.018Z

Who says I procrastinate? It's only been a few months since I set up this blog account. Though I must admit I don't think I really know where to start, so I'm going to start with the end. With death! Yes! Yippee, indeed, we are all going to die. I suppose this is a major influence on the outcome of most of my creative endevours, be it subliminal or deliberate. It is some form of device for coping with mortality. Yours and mine. All this messing around with found objects and bits of rubbish, and useless tat. Discarded things out of a friend's bin. I like to think, that somehow, I'm giving them another chance at life, a new exsistence, something beyond what was intended for them originally. It's like being some sort of 'god of small things'. Like taking a lowly squeezy bottle and some sticky backed plastic and turning it into a magical paraody rocket sculpture that will intrigue all for eons to come!

But why call myself an artist? Aren't we all artists? Why am I trying to forge this niche in the world by making these things, these things termed as art? Why do any of us do anything?

However powerful our technology and complex our corporations, the most remarkable feature of the modern working world is in the end internal, consisting in an aspect of our mentalities: in the widely-held belief that our work should make us happy. All societies have had work at their centre; ours is the first to suggest that it could be something much more than a punishment. Ours is the first to imply that we should seek to work even in the absence of a financial imperative. Our choice of occupation is held to define our identity to the extent that the most insistent question we ask of new acquaintances is not where they come from or who their parents were but what they do, the assumption being that the route to a meaningful existence must invariably pass through the gates of paid employment.

Alain De Botton - The Pleasures and Sorrows of Work.

After many years of struggling to come to terms with all of what is behind what I do, I have come to a few poignant conclusions. One of them, which I shall discuss here, is this need, we all have, to distract ourselves from our own unavoidable demise. What we do with our lives is almost wholly this. More complicated now, are we, than just mere hunters and gatherers (edited by Yoda). We don't spend time dwelling on this. It would drive us (more) insane. We must keep busy, distracted. Well, at least most of the time. So anyway, Art is what I enjoy and this is how I choose to distract myself.

There are many facets to the work I produce and mortality is a subject that is a relatively recent. It seems these days, I think about death more often than I think about sex. What's that all about! I see many aspects of this filtering out through my work. When I take found objects, often from bins or skips, I am somehow prolonging their lives, assigning a role for them in creative limbo. I like this. It gives me some sort of hope. A vague faith that there is something or someone to help me, perhaps, when I am finally tossed in a skip with an old matress or Citroën. On the surface, my work always has to have some kind of immediate impact. The object has to look good, well constructed or thought about. Maybe, somehow, appealing or maybe even repellent. But it also has to have an underlying element that isn't immediately noticed. A hidden theme or meaning, such as an innuendo or subtle humour. There is always more than one layer to my onion.

I have made a few works that tackle this issue of death rather more obviously than others. My text pieces often deal with mortality and life in a rather more direct way than my created objects. Some obvious examples -

"This Boy's Dead This Boy's Asleep"

"Fuck this shit! I wanna be a rockstar."

"This is merely a distraction from the inevitable."

But then there's also the slightly more obvious jibes at fate -

Epitaph 2005 - old pizza boxes, paper, paste, paint.

Ghost 1998 - oak, concrete, mirror.

Whilst in the studio, having one of those frequent procrastinating thoughts, I felt compelled to reach for my camera and get down to some spotanteous performance/video shenanigans. The piece involved me writing a message, on a piece of paper pinned to the wall, with terracota clay slip. I was desperate for a poo at the time. The fact that the first take went wrong, my camera battery dies, added a touch of urgency to the whole event. (Trust me, by the end of it I was really, nearly in some serious shit!)

I feel it's a real "when you've got to go, you've got to go" moment, reference to both needing the loo and when the Grim Reaper comes knocking. I remember hearing this phrase used alot as a child, and in reference to both.

Alain De Botton recently tweeted "Strange complaint that death is now taboo. Why not? It is horrifying, sad, impossible - not something we should even try to be wise about." He could have a point. It does seem somehow churlish to attempt an understanding. We all have to deal with it in our own way. This is mine.

"The thoughts of our inevitable and separate deaths fill my heart with intolerable grief."

Bas Jan Ader, 1942 - 1975.

And so it begins.

2009-06-19T07:32:00.002+01:00

GODDAMMIT! Mark Scott-Wood has only gone and got himself a blog.

<------- Watch this face for more details.

Mark Scott-Wood is mostly an artist, mostly.