• Oil on board

• 28 cm x 33 cm

This self-portrait presents a close-cropped view of the artist’s face, intensified through a chromatic distortion inspired by digital image filtering. Fragmented colour and exaggerated contrast disrupt natural skin tones, creating a sense of motion and emotional pressure within the frame. By translating a digital effect back into paint, the work explores identity as something unstable and layered, shaped as much by perception and technology as by the physical self.

• Acrylic on paper

• 45 cm x 55 cm

This brooding portrait depicts Raoul Duke, the character portrayed by Johnny Depp in Fear and Loathing in Las Vegas. Saturated colour and stark lighting fracture the face, mirroring the character’s heightened, unstable state. The cropped composition and fixed stare compress the image, creating a sense of internal pressure rather than spectacle. Rather than narrating excess, the work focuses on disorientation and detachment, a figure suspended between control and collapse.

• Oil on board

• 45 cm x 55 cm

This portrait captures a quiet, charged moment between Jim Henson and Kermit the Frog, framed not as performer and puppet, but as creator and counterpart. Their shared gaze speaks to trust, curiosity and mutual dependence, the blurred boundary where imagination becomes something living. Rather than spectacle, the focus rests on connection: the intimacy of creation, and the emotional exchange that gives a character its soul.

• Oil on paper

• 32 cm x 40 cm

This portrait depicts Fozzie Bear in a bright, saturated palette that leans into warmth and openness rather than irony. Direct eye contact and exaggerated features emphasise optimism and vulnerability, while the simplified background allows colour and expression to carry the image. Painted with deliberate clarity, the work celebrates sincerity and good natured humour, a character defined less by punchlines than by persistence and heart.

• Acrylic on paper

• 22 cm x 28 cm

This portrait depicts Frank N. Furter from The Rocky Horror Picture Show, as portrayed by Tim Curry, rendered with an emphasis on introspection rather than performance. The downward gaze and softened features temper the character’s theatrical bravado, revealing a quieter, more vulnerable presence. Muted skin tones set against a saturated ground create emotional tension, while loose brushwork resists polish, allowing complexity and contradiction to sit at the surface of the image.

• Acrylic on paper

• 32 cm x 40 cm

This portrait depicts Magenta, the iconic character from The Rocky Horror Picture Show, as portrayed by Patricia Quinn. Cropped tightly and turned away from the viewer, the composition emphasises attitude over narrative. High contrast and saturated colour heighten her theatrical presence, while loose, expressive brushwork prevents the image from becoming illustrative. The result is a study of character rather than costume, capturing defiance, allure and ambiguity in equal measure.

• Acrylic on paper

• 45 cm x 55 cm

This portrait depicts Fleabag, the character created and portrayed by Phoebe Waller-Bridge, captured in a moment of sideways awareness rather than direct address. Bold, fractured colour and flattened planes echo the character’s emotional volatility and sharp self-consciousness. The cigarette becomes a compositional anchor rather than a narrative device, allowing the focus to remain on posture, expression and tension, a study in control, exposure and quiet defiance.

• Acrylic on paper

• 45 cm x 55 cm

This portrait depicts the Priest from Fleabag, portrayed by Andrew Scott, rendered in a style that mirrors its companion piece. Averted eyes and fractured colour suggest internal conflict beneath outward composure, while the restrained pose and minimal gesture hold the tension in place. The cigarette functions as a quiet counterpoint rather than provocation, reinforcing the character’s ambiguity and the unresolved space between restraint, desire and self-awareness.

• Oil on board

• 45 cm x 55 cm

This stylised portrait draws on Heath Ledger’s portrayal of the Joker, focusing less on chaos and more on psychological fracture. Tight cropping and distorted colour compress the image, pushing the face toward the viewer with an almost claustrophobic intensity. Heavy shadows and warped features blur the line between performance and identity, presenting the character as something eroded rather than exaggerated, a study in menace, instability and controlled collapse.

• Oil on board

• 45 cm x 55 cm

This intimate portrait of Ian McKellen is rendered using a deliberately limited palette of browns and yellows, allowing tone and structure to carry the image. The close framing and direct gaze emphasise presence over performance, drawing attention to age, experience and emotional weight. Subtle shifts in colour and texture articulate the face without embellishment, resulting in a quietly powerful study of character shaped by time rather than role.

• Acrylic on board

• 22 cm x 27 cm

This piece features the Benderwicks signature bee suspended within a loose field of green and teal pigment. Splashes and drifting marks suggest movement and chance, allowing the bee to feel momentary rather than fixed. Negative space plays an active role, giving the impression of pause, navigation and quiet intent. The work balances whimsy with restraint, inviting the viewer to consider motion as something delicate and deliberate.

• Acrylic on board

• 22 cm x 27 cm

This painting presents the Benderwicks bee in conversation with vibrant pink flowers, rendered with expressive, fluid brushwork. The blooms feel energetic and imperfect, their scattered petals and splashes of colour creating a sense of life in motion. Rather than a literal nature study, the work explores harmony and curiosity, the bee as both participant and observer within an unfolding, playful landscape.

• Acrylic on board

• 22 cm x 27 cm

This rapidly sketched portrait depicts Tyrion Lannister, the character portrayed by Peter Dinklage in Game of Thrones. Working with a limited palette, the focus shifts to structure, gesture and expression rather than likeness. Loose, assertive brushstrokes give the image urgency, allowing thought and attitude to surface ahead of detail. The result reads as a moment of observation, a character caught in motion, not resolved.

• Acrylic on fibreglass

• Life sized sculpture

Hive Majesty was created for the Lions at Large public art trail in Gloucester, supporting the Cheltenham and Gloucester Hospitals Charity. Painted in acrylic and sealed with an automotive-grade lacquer by BMW, the work transforms a life-sized male lion into a celebration of growth, collaboration and resilience. Botanical forms and pollinator motifs flow across the surface, merging strength with fragility and positioning the lion as both guardian and symbol of collective care within a shared public space.