"The thing is with inspiration, is that you never get any warning before it hits you…”
I've always thought in 3D, I guess my painting style is testament to that, but it's obvious to me far further back than that. My entire childhood spent playing (learning...) with Lego is where I attribute much of my foundation as an artist, and I still have a felt tip collage I won a prize for aged 5, which is multi layered. At school it was pottery and woodwork that I most revelled in, then at University studying aerospace engineering, again it was the practical side. And to be honest, right now, sculpture is where my mind spends most of its time. The challenges and the costs with sculpture are exponentially greater... but also the scope of possibilities and power of the result with a much greater physical presence, should I get it right. Everything I create sculpturally, I can see in my mind’s eye from the outset, I wait for that vivid 'Eureka moment' of realisation before embarking on anything, have to be totally clear what I'm working towards, then the 'only' challenge is to bring that vision to reality. Based on three-dimensional motion capture and using the rarest of assets for hyper realism and dynamic, and a new improved take on what is fundamentally a very traditional output – 3D capture and augmented-reality modelling translated into the age-old tradition of lost wax bronze casting. And where sculpture has led me to, in a relatively short space of time, is mind blowing. Creating sculpture just feels like a legacy that is so much more permanent than paint, created from near indestructible materials that will be around for much much longer than I will be, and celebrating subjects often so revered and indeed worshipped, often by those who are so close to them... is a difficult thing to get your head around, to be responsible for creating something of that magnitude. I may well have already created my most renowned work – indeed although I will never rest from furthering what I do, I think that's fairly likely actually. But then I never saw that career defining epiphany coming either, that led me to create Senna 'Eau Rouge'. Inadvertently at first, I appear to have carved my own niche and a renewed self-styled role to celebrate the history of F1, in life-size bronze. Each statue is around 12 months from concept to realisation, and is created in three limited edition scales: Life-size, 60% (F1 wind tunnel development scale) and 20%.
A concept that I envisaged whilst still working on 'Eau Rouge', and using the combination of my favoured bare bronze 'gold' finish, and black paint. And based on a famous photo that I had always intended to commit to oil paint; Ayrton sitting on the tarmac behind his broken car during Friday practice at Estoril, 1985... two days before his maiden win in F1. I was intending to release 'JPS Senna' to mark 30 years in 2024... but with many other projects paused through 2020, it gave me far more time than expected to work on this, and so I unveiled early, with the help of Sky F1, when F1 surprisingly re-visited Portugal again because of covid.
Senna in JPS livery was my earliest memories of F1, the black and gold Lotus with yellow helmet looked just so cool to my 10-year-old self... I think because everything awesome in the 80's was black; Knightrider, the Cannonball Countach, Airwolf, and Streethawk. Little did I know at the time of the iconic driver that Senna already was, taken way too early, and revered to the level of saintliness ever since, the world over.
Limited editions are available in bronze:
Life-size on approval
60% scale - 35kg
20% scale - 7kg