Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
Hello again Tony! It’s been two years since our last chat and we can see that you’ve been very busy. Would you like to talk us through some of your favourite collaborations and standout creations since our last chat?
I’ve really loved creating custom pieces for the House of Hackney - Frieda, the creative director has a fabulous maximalist approach to interiors and placed my abstract faces in unexpected and interesting settings within the show space. Recently I also created artwork for Smythson of Bond Street, which was also a really great project, working with such a luxury heritage brand, it was a great opportunity.
Would you say your style or your artistic practice has changed since our last chat?
I try continuously to develop new concepts and ideas, though a lot happens through travel too; I think working on much bigger scales has opened up more opportunities to experiment and push new mark-making techniques with my figurative abstract pieces.
Speaking as fans of your work, your signature style seems to have naturally evolved, with your use of colour growing and the size of the works increasing. Was there anything that inspired this experimentation, or was this a subconscious decision?
The studio space that I work in is supported by Castlefield Gallery, and a new art space has been fantastic in allowing me to work much bigger and spread out! The space is huge, so I saw potential straight away to go big.
We’ve loved seeing you experiment with a variety of materials as makeshift canvases - the room divider, as seen on your Instagram, seemed to fit perfectly with your illustrations. What was the thought process for these decisions? And how do these decisions alter the approach to creating and then moulding the overall aesthetic of a piece of work?
Yes, I have totally loved working with pieces such as the room divider - I’ve wanted to cross over into interesting interior pieces for a long time. The glass layered piece was a nod to Picasso, the base is actually a framed Picasso animal print with my rodeo faces in acrylic painted on top of the glass. It was pretty spontaneous and comical really, I liked combining the two contrasting elements while highlighting one of my idols at the same time.
What is it about an unconventional material that sparks your creativity?
I love working on old bases or mistake canvases; There is something about new materials that gets frustrating and feels too final!
How do you decide on your chosen canvas for each piece of work? Is this something that is planned or is it a spur-of-the-moment decision when stumbling upon an unconventional material?
I much prefer the spur-of-the-moment pieces, they always feel much more characterised. I can appreciate super slick artwork but I much prefer something that feels it has a past as well as a future.
Continuous drawings are frequently popping up on your Instagram; when did you decide to implement this idea into your work, and how does it change the ways you create a piece of art?
There is something so freeing I think to start drawing and continue without stopping until it’s finished, I think it’s liberating for a lot of artists. I love the way that the picture makes up its own mind about what it’s going to do; you’re almost guided by an energy rather than a planned-out thought process. I think there is something special about that.
I was very intrigued by the custom rodeo clothing pieces you had on your Instagram page; could you tell us a little bit about this clothing experimentation? Is it something you’d like to experiment more with in the future?
The clothing trials have been really great, and I do keep getting lots of messages for sales, but before I start to promote them as available to purchase, I would want to work with a strong supplier who could produce them in a commercial way. They are great, however, as art pieces - I think nowadays so many people wear things once, so it makes no difference I guess!
In our last interview, we spoke briefly about some of your influences, including travel, fashion, history and unusual colour combinations, but which artists have had the most significant impact on your artistic practice?
Matisse and Picasso. I know that can sometimes feel like an obvious answer but I really do feel continuously inspired by them. I admire the showman element that Picasso had, flipping from one thing to the next. I like to do that and not stay tied down to one concept for too long.
Are there any artists you are currently obsessed with, or hugely inspired by? Who should we keep a close eye on?
I really love John McKie (@johnmckieart)! I actually have some of his work in my house.
