RAy LEANING

THE

ART

OF

THE

Erotic Print Society

London 2004

EPS

. /\y LEANING

THE

ART

OF

mE Frdic Print Sode'ty

wndonm4
D esigned by ~

I.eam:m:g

lEdiloo by'Caro1i Miil!lJigam. lProd:ucoo by M1JSE Ame Arl. & J)~gmt lid.
Brighton, UK

Web:

W'\iV'W.11ll1!llsciim.lemt"oo.ul.

T'iJeimtic -

.PrimtSaddv --.,..
-

IPS) 17 fI~'(l(ldR03d, WNnON~SW64QP Orderline (UK only): 0871 71.10 134 fax: M4 (0)1235 ,814 35:8 Emai[: 'ep'@:Iawooll..J.nmtretim:g.ro.,llIk
Web:wvr'W.~roticpri_.(.n1g

e 2004
© 2004

MacHoltd,lo.ndon
Rayle.MIing

UK

AMrights reserved. No part of this

publication may 00 reproduced ill any form or by any means without the prior permission of the publisher, No part ofthis publication maybe reproduced by anym~ns without the espress written permission of the Publishers, The morel right oiR.ElY Leaning as author of the text and designated artwork has been asserted,

ISBN:: 1~89.8998~96,~5
Printedand hound in n,a[y

EPS

T~<;;;~
Formative Years A rt Go Uegl,e Aii Chang',e 9
14 ,20 ,21 ,28 46
122

Fre ~hS:a rt
(3 a in gl

Pub lie

Briglhton Aft,erwordl

1.23

Ihanks Illnd of Prints ex

1.26
1.27

" k

~1Il..B--

"

Pencil on paper; 2004 origl iriJ.a,' im agre size 'SHx18"

w people in ,~.irfe ~ucky enoughto are

realise their uniquegift

or talent .. AI

lear~y 40, Im sHU seafiChing ~formiline - burif to' be aemsefor

I neser-find

jr,

rM be de!]~.ghled

to' spend the rest of my days eneonraging a man who has found his talent to share

rnl'lMth you, 1£ has been an honour

Ray these mast len years,

[.0

stealing time 'Out 'Ofour busy ,~·~.ve.~oorkingand growling children,

make

pictures together, I never had [he sm~ginesr indinat~on(Q

Rayis not a photographer,

be a model

a dancer or
Thankfujly

awriter; perhaps - but I.am not, and never have 'been,mode~. matedat

but a ski~~edcosmetic surgeon with ,3peflC~-

streamlining and enhancing in a~~ right places, turning back the dock the
with his carefum 'Om:~ssmonsand gentle sculpting

Ray's. greatest frustration is knowing that his artmerdy surface of hisintentions.

scratches the

But his incredible seU-motrua(~on,

energy and passionhaw; ensured a promising beginning and

anaooomp~ished m iddle to his artistic career, I confident ~y predict that his best work ies shead,
Theimages in this, book are arranged

chIonoliog~ca~~y show how Rays stylleha~ to develeped .. He works fa.qt,makilin,g very few
m~stakes, and has the potentialto be 'i~'ii . ope ,,', ~~ .. .,. . ,.. ' ~IS pr'O~H~c.I he you ~IIII agree l.he ' resll II are worth pursuing,

s-:

"
Forma.tiva 'Years
1 was a so~itarychild
=

"
happyin a workl of Akfix kits and H umbrol enamel,

cardboard and Se~~otape, oomk':s and fu:UHp pens, Lloved the superhero fi,gures of M,afvei] and DC comicsend

taughtmyseU(o

draw by copying them when I was quite

I was born on a bleek winter's

young, I didn l: have a particulady ereathe background.

night, 17 November 1'9J5'9,~n Scunlh(lrpe= my mother, :iin. labour, havingbeen rushed to the hospital in aneighbours
I was young he workedawaya sidecarwith

Dad riding p~~~ron.,

drieing

My fsther had been invalided out of the Roya~. Navywith TB during WW2. When lotasa long-d~.stance lorry driver; thenasa instructor, evrotuaU~ settllrun,gas a gardener, Mum was agralter - alandgir],

a
,00:

VI3~.lreSS,3 cook, a ochoo~ dianer lady = often holding down two or three jobs ,

once
Steve
[0

and .~ooldngafiel '[~JilJy brotherandme ~thmy

rode offto
art

grandmother's

help,
early rolemodel. On .Dads

My brother, Steve, seven years older thanme, becamemy school .on hismetorbikewhen

Lwas 10, leavrun,gme the bedroom. Warho~, Ruasehenberg,

1'~

agt! 5..

myseU~ On vrnsmts ome, Steve brought wrnth him books on Pop Art, figure drawing h end Victorian advert~srungart I disc::overedUchretls(ein, Oldenberg and .my particular favoudte, .AID~.erlJones.
and re-size pictures and, with poster
O\Vl1.. mfe.SJ]re

My brother Steve .& I,

agf¥i .14 & 7.

Claus

I learnt from these hooks how togrid-up paint, created my cardboard

cUlOUlS

of Supergirl, Catwomen,

Zatanna

and Black Canary I don't remeneber ever painting the blokes, I painredmybedrecen \W.~~s with mllr~s~n5prn.red by Roger Deaaalbum covers, Steve~smonth~y visitsalso

brought Santana, The Rom~rnng tones and Pink F'I]oyd..Ifi)~mo~ S StardustandAlladin

the story of Zrnggy

Sane; drew and painted ~ftom(he LP COVell'S ofLou Reed and Bowie, Rexy Mu sicand Led Zeppelin, I ~m~edmy \VOrt~wruthruoonic~m,ages. In contrast, school ~iferu: High Ridge Comprehensise wasreiserable, I know now
that I am dysrnexillc- oommon~y ~abe:~~ed 'stu:pid'~n the early 708-..I s,]mplliy eouldnt

remember dates and names. History geography and French were a nightmare for

me,

'lbu're an .kHO£.Leaning, wh.at are you? .my history teacher ye~~ed.to which I had to

A vt'ry6tul)! chalk &:

.rep~y,'I'm an idiot, Sk.' I was caned fur having Jong hair..I was thrown out of class
for deodliagend

charc.rXll pi(!(.)t jtom

day dreaming, then caned for being thrown out of'elass My only

ixtn/am.

sanctuary

"WEtS

the art room, run by Dobbs

and Frank Murr.ay, where I was"praised rather than humiliated, Art was the onilly
lessen I looked forward to in thewhole

week's Hmetabme, I did okayin other subject S thai: required observat ional drawrnn,g and I~illustr,arruon ,goom.erry; woodwork,
=

b~oillogyand physics (chBm~.stry\Vas, justa bag of Scrabble letters), Mum's dedicatienasa

Sdl'OOW

dinner

lady spillillilled overinto her home cooking,

There were always secondand
Ml:J11i

third

& Dad in 1974.

he~pili.tlgS. our house and atabout ten in

years of age I became fat .. And kids ere crud

Me age 11~ myfir~ in 1.;vnt at &rr.~"'"~·1'"'I'. .v::ha:' . ~ .J~ .... :..rrwu. y.

')'to

- especi allilliy when yon 're far. and stupid!

Sl.ved by the IBe~~

I was saved by testosterone ..When puberty kickedin I sudden ly sprouted jnto a long, lean beanpole,

Somehow

rurvirvrnng the onslaught of GeE eXlIDtTh.s, I

was rewarded with the long hot SLImmer of '7,6, which I spent tearingareund ona.meped, sw.~m:mitlg, sunbathing, sffi!l.m.ok~ng and ch asing .gillds, dope
.r

Srn,gningup for shah form.at John Leggett, I found I wa~n1:~mO\Vedto do just Art A,"~evel], SO added botany and zoo~o,gyto my tjmetable - lots of drawinglots
~filB~d trips and ahnost of

needle oj my jetJmi, btu e biro 1978.

eJrrnusirveJ]y fema~eclasses - perfect!

a,

The Art un or, Margaret B~mtlforth was

spn-ited lady,

but must have despaired at having to teach somany hormones on heat. I remember airbrushin .. a series of g huge ~ipstkk:ed ~~ps wrapped arounda shinyapple ...

Withmy partnerjn crime, the dark and .~ove~yue S Rychmak, I painted murals in the sixth form smeking room. (those were the daysl), where fdlbw artists played krn~merdarts, smoked roll-ups and weed, Uktedand
smouldered. 1 passedmy bike test and traded in my l250c for bigger.more powerful engines, And I fe,n~n ~ove with blonde bombshell Barbara.a sexy; sa~

sixteen-year o.~d,'Wh!o waslater

to become .mywilife

Under!landin g the 9celeton is crucial for figu1'2 dmwing. Grim.:J.:r.ls r:eident .'lkele(o}1was a maw pat.imt life model.

Biro & pendl, 1979:, The summer of 78 lworked down the Steelworks as a furnace 'Wrecker and labourer - 12 hours a day, sever]

Pencil & ink. frcm

25
yttlrs

agrJ,

days, a week, wililh 'Hanson's Gorillas' ..It \VaS filthy work in the o~.'~y, and. disturbing bowels of the dark mechanicsl ~evru,athan that 'WaS the stee)]oorks, The
furnaces ran day and night, shutting down only 'Once a year - stop fortnight
=

duriag 'Wh.kh theywere f~~kd

with students and labourers to scrape down, shove~.out,

de-greaseand steam-clean the yearsacaimuleted .grrume. In the furnaees.with s!I]J1!a~~ jack-hammers, we knocked off the OOfaill1J.!TIJk~~:n~n.g bricks and harrowed
them 'Out so that the hli.dd,ayers coukl re-line them .. The furnaces were sdU ooolnig so it was ]5m~nutesil~ 20 minutee QUt. We were sent down the gll~~eys under the rding racks to elean out the steel]shale endgrease, And we squeezed through access harchesjntonaassae

ooo~n,g fans to dean the fan blades, One day \vh.~~.e·\Ve

were reJi~~:~n,g water filters the size of petrol tankerswith dean sand, a student passed out aadnesrly 10 drowned
i([l

Fh'St life drawing da,wzs at Grim.I}Jy Schad oj Arl~ with malel~lnme, 1979~

the sand after a practkal joke by rome of the regular' labourers ..Hell of a way to earn. drinking money It was. outrageous, But the proceeds. helpedme new bronze and go~d Triumph Bonneville, 0 h joyl'
to purchase
3 brand

lh e !PUgl~m &. 1h e !Pr~ory r

I started .AIr Foundationin the autumn, taking themorning train to Grimsby on my

dai~1y p.~.~gr.rn.flrlM!geH) new h.().~y; life Room, Irene was the subjectend the the Todd my new deity: Astride our woodenher

Peter

ses with drawing boards and conte, I

lesent the an of academic drawing, We drew from the .model], the skeleton and the
antique (various Greek and Roman plaster casts), We weee lHU,gtlt to draw whru we

saw I learnedto

throw pors, make prints and hand-render

typefaces ..On sunnier days

.D rm~.4ngfromthe

I rode the bike there, topping the ton and feejnglike

a God ..U:fe was good ..

Bvenings I worked as.a barman at The Priory Hotel; full of rockers. and newly emergillngpunks, leather and ~y{:ra, PVCand p~.a(rnnumblondes, Saturday night was a ]
reguler ruck dance with the Steve Bird RDooshowwhich oomsi\ona~lliy degenerated

!lreleton and the antique.

into a saloon bar brawl with breeking chaies and boor borde mmssmes, Manya dusky
damsel I rescued from the fray and rode home on the Triumph ,at the end o-f the
night, What agentlemaa!

Wi.thBarb~ beth aged 17.

Tenusive nude .197.13.

Bac lie ~ntolhe IBe as

In the SLImmer of ~9 the hire ofmeneyled back
(I[)

Sr;untMI1Je Stwtiw(Jrks

me

HVIllly

fromfurther

educationand

br/olTe denMJi.ition.

the steelworks, A oLid. choolmateend s

ex-Grimsby an student, Danny Flynn

.M tZzai nt. .1982.

was working as.a crane driver; It was wd~. paid work and cleen, So I took (he various
driving tests and joined the crew ,ruNormanby Park Bill~~et M~U as an overhead crane driver; The workwas fun - loading 7 (on steembars onto na.~way wagons, .~ift~n,g scrap pans, pu~~m,g red-hot 'cobb~es~ fmm the mouth ofthemilf (when bars are being
rd~ed, sometiraes they miss and twisr ~~kerubber, jamming the m~.~~, thus mbbl!es~) and drawingto k~.~~. dOVil1 tjme, DWIUY and 1 spent a year decorating themess the

roorawitha

mnrarnof foxy ladies and Roger Deanesque landscapes, We played cards

and chess and became firm friends, On days off we airbrushed carsand vans and bikes Danny has sincemade a: successful career ofhis soi-:lipaintmgs andillustrations Barbara and I moved into a bedsa fora few months and then into a Uat above a hairdressersin Berkley Street waha couple of cats. I sertledinro aroutine of shifiwork andwas earning good money ("79 was, thelast time I\Wl:.~ flush), ..And then. came; the

Vl:w fran .the a:mrrol bar if the Jlying !hf?ars~

sled strike, When Normanby Park M~m~.fi:na~~.y dosed, rome wag painted, 'Last one out nun off the ~w.ghts~ 6 foot letters high up on the end of the m~U, in

My /it'd Bennie. .Blue biro; .l979~

12

Ju Ira SFlC Pa rk
After month s with no money I ltd
£0 'WaS

taken on by A[t.~.saiir

make Jrubre~,as. dinosaurs for theme parks, I .s

in the aU-male mvircnmmt qthe

W()ming

leerned to form a sled and ehickenwire sub-frame;

model a day or~g~na~;make re-usable negarivemoukl a

,steelworks highlighted .the

g~~ between mwcr.dinity If

sndassemble thefinal fibre,g],a.o:;:s Then I frn1~ed~ oop~

sanded, panel-sprayed and coach-panted to a 33 It Maeroplata for underand
.3.

the figures to a (Berkl (:)1 Street" Gil on boatri 198.1.

f

and !m1, inintry

convincing finish, From a 7 ft Pretecerateps I worked np caravan park on the shores of loch Ness, But there wasnt months at ht~sair~ company went the
a huge ca~~for full-scale dinosaura.Afterll

Unjini.Wedpendl drawing o/.Barbara 1979~

t

I was laid offwith no redundancy p.ay~aga]n., lhated Scunthorpe,

Behind with the rent, I sdd .my Bonnie to help pay for our wedding, lwenr back

to puUrnngpints, this timein the Working Me<rIS Club wrulhru(s Hammond organ. and bingo, dominos and bar b~n~ards.I painted pub srngnsand sprayed cars, did signwr.~Hngandairbrushed motorbikes, When. I conklnt find anything
H)

paiot lgor

stoned ..The hrngh~.rnght of the week. was Kenny Everett~s Hot Gossip on the box. I was

Sculpting the Macroplata.

cracking, Somethin,g had to ,girve.,J\rl CO~~{1gewas passport out of Seunthorpe, my

"

Beeta r C·,Q ~~a,gl e of Art & D'ea'QlrlI

Because of ,my modelin.g eepedence I was en.rdkd~n the Sculpture
department. But conceptual sctl~pmre left me ooM,A.s a piss-take one d.~. Lnajled 52

envelopes

to the

.~.~. by their:li].ap 8 so thai: theymoved

(he draughras people passed by..The tutors. moved it, lasked W be transferred, Next lwas putin Pdintmrudng\Vhich I did enjoyand learnt the traditional skruUs.o-£
~tl

dry point, etching, mezzotintendJithography

Em I rea~~ywanted to draw and paint,

so I switched W Palntmg for the: start of my second yearat oo~mege.

I had chosenExeter enthusiasm

becan se

jt

was as far aw.ay from Seunthorpe

as I couldget down nke.3 lead

over~.ook~n.,gthe fact that at an abstract, expressioni stlend scape cd~ege,my for f~gurat.hre: .~m,a.ge,.~ (he fem,aru.eorm. wouldgo of f
ba~~oon. V~Hh~ng tutor Karl Weschke added to my 8didgrou:nd~ng~n ru~fe ire

drawing, but otherwise tutoring at Exeter was nr1JJ~nrnma~at est and destruethe at b
worst. Atl.-e.gnlar critiques, both my subject matter and ~ru.rurulls{ratkm.3rtreatment derided and I retreated to the life Room wkhmy confidence in shreds" were

I found drawing from the nude: exdtrnn.g, bue not arousing, Constant scrutiny of ked _ ,·d:·· "';~I • nd .ern~l!Ie,young nd ,~Id· m. ~III'I Salapesan.nd si ...\, CUwtuI... ,a . th e na·QU b 0 y. ('m!:l!lean. f . ~II ' ".," " . an . ow_, ,'i' ,!:I!IW .1 .. srnze .. 11·00···· . ')y

ream appreciaion

of beauty But naked. Uesh became pure anatomy Jor me - hence my

fascination for female fashion ~. clothes that focusattention on the: differences between the sexes, and fet~sh fashion which tokes these subtle messages to extremes, .1df::l-myed this paint.ing,( and other~j
Vi .itin g tuto«;

after ,it was .iarnmed .by theext:emal (JAV!.W)r as 'aude; banal nJbbi!Aj~
Unfinhhed oil on mnva~ 19:83.

Karl Wochk~ in the

,life n:x;rn with l1uxlel\'

5]arah '& .!~ Iie.

Pencil

,0

n pa par, .~ 984

Mod,als: Sa.rah & JuHe,

15

0; l on am: vas;,
, "10' ,II X",,

IS'

,I

1",,0'4 ~ ,; )10.

Of aU the paintinf}$.1 prrxluced of Sarah. this i s nry favoo rite. My tutors advised me na to

exhibit this piece in n;ryfinal degree.. WtJiV~ 0;1 m amll~ 42'1 x 42'n .19'84.
..
~'

Oil on canvas, 1984

The3! !Iludl dudies

(I

Sarahw~~e painred from

life. .1 couldn't qfford

,'Jr·etch~~ 9) .wretdzed nry canvas CN·~· m.ip.hoani. .Ali dl ,emcanvas 19:84.

17

Painti ng on ltXution at

Pierie & Mer011ale. .italYo u rn boord, .19'83.

Pa.~ettesof Passon
Stubbornly I continued

,a!Iongmy O\V[l path, managing to fit fetish iatemy portfolio

by chcosingen Alli~enones' painting, 'WeI Sea!l.'for a reconstruction project. Allen J Jones was a modem artist I coukl relete to".l found his werk intriguingand ihspruring
- taking images of the masculine and feminine and turning them intoicons,

One brru.ght spot in the Viiho~e xeter episode was a. month's study Imp ['0 Tuscany E
and Umbria in the summer before my finEd year".A dozen art studentsin Italian vrumrnEt Itwas the fiirst time I had beenabroad a Transit

[ffimini~bus, drove down through Biropein themid-summer heat toa spartan we

- awonderful eye-opening adventure, I was staggered by how different and vibrant the .~ightwas and how much

intense colour I could see in the shadows I wanted to move [0 Italliy". I st:~~~o" d Pr:nci l & cdoo r Mudies of 1ulie~1984.
Returning to cd~ege

My /camJ.e instructor took ajnv of my pJintingi bade

to his kane (yJUntr~ Bn,uui wha~ehe .wuy

irrla

turmeil of debt and frustration, I began ptlm~l,g pintsin

The Prospect pub in Exeter to bring jn some cash, wondering how on earth to make a ~~vnng S an artist .. S(~~~ a.' stewing in my obsession with how to depict seXll.~~ty and
sensua!lHy; my finel dissertation shop window mannequjns 'Just A Dum. my,.... "? looked at [he history andart of =~dearnillsed figures, desrngnoo tohnpert their seductive

opening a gallery qf
WrMerll1 ArL

.1 nev~' hmrd

from him again.

St.ill life. oi i «n am~j~ 36" x 36"~ 1983.

Maniagi oil on 36
lt

(WtP~

qualaies to the clothes hung on them ...Aillthongh I'd had enough of oon~, I sensed I was just starring to get somewhere with my painting

36!t~ 1983.

as (he

OOLlf8e

came to an end.

StifpOitlai.t~ .16
iP

oil en a»1:vas;,

30": .19:83.

M"y rea;mstrU{.,tion of AUm; 1mu:~l Wd' Seal ~- oil en

I graduated jn Pine .11,1"t Painting in. ] 984. The fi:nam degree show cameandwent leaving a void of despondency What on earth was I going to do nOw?M the last minute Iapp~~ed ~fora one year post graduate teaching course in Br~.ghton. Barbara had found a job she enjoyed.
80

My studio !jJXlCe fueter at Collegft (/ Art '& De!ign.

,rm:v~

36''' x 36n~1983.

she stayed on. in E;.,;eterwhen I moved.

IBrm,gl hto n C,Q~~e,glot Art e

It ~feltgood to be by the sea" But I\MI.s sedousruy broke, I shared a house on Hythe

Road wrnthfive other dysfunctionals, I stokmmk from doorsteps for breakfast, w,alked m~~esto arid ~from. o~~ege o and .ived on. bOMS efriceand soup in the esenings, By day I attendedlectures and taught art .FU secondary schools - an esperienee I found
daunting, I wanted to lake the kids back [0 basics and teach them how (0 draw But Ftliutrated with rolleg~ .1 ~yxnr much if my final
yeaJ"

art :~nthe eighties 'WaS becoming voeatienal - I WHS ha.vrn:ng [each craft, desjgn to technology plastics and met aruoork.When I wasasked to teach geographyas \Ve~ru, I resolved (0 fillnrushmy cHpruomaand find something else te do .
I bare~y coveredmy rent by pumping gas ,at a service ststion on the seafront, and pulfing pints, this time in Busbys nightclub, I did se~~a few oi oomwi1J!ilissrnons, I btu had rnilitUelme to' paintand t Ofl~~ a few dra'IMl1,gs, and painrmgs sLlrvrnve from. this H.m.e. Then Barb rarq~from Bxeterro say she was pregnant.

'Working at /ume with

!l:udy
eft

Barb as my life malel.

Pencil &: oil an
X

canvas 48

48"~ 19'84.

Suntanned Bmil. oil a1 can:vat 48" x 48u,~ 19:84.

.. ..

..'

A~~ Chanqe
I hireda van, picked up Barb,
t\.VO

cat s and our belongings

Bdghton.

and moved usinto my rented reomin

f1~nan.c~aUywewere~l.l dire straits, My brother Steve was by this time an art editor with the publisher Marshsll
Cavendishin london .. At Eaaer, I met him and his

colleaguessnd

over a drunken hmch was offered a way our

ofmy predicament, I started at MCas a ju nier designer soon after. Thus began the long commute
At last there was money oornFng~n ,and Barbend I got a mortgage Qua two-bed VL!ctodan terraced house, We started there with a bed, a baby and a couple of deck chairs, I~eft the house ·at ,6.3n~mand come hack through the door at 7.30pm and this became the pattern for the next seven {CICtiet .D~r:e; pendl.
19'88~ later wxycirxl Jor

thefir~ anthlxqry bode aw~' if the ssne nam«

years. I became a father ~furthe second timein 19,90.. Pa¥nt~ng hnd[a~~ed I wflsufmnruJ]y man wmthalnortgflge me.
and a career, 1 had no energy left forflft.

Grap he D'esigln
I enjoyedgraphic
ranks,
I\MQS .hl

design and rose rapidly through the

EdHor of .lmagm·if War

'Daf Ro&:/ 011 on board; 19'84.

partwork for a couple 'Of yearsbefore developing thelook of new partwerkslike The Great Cities and Out & AbrMt, Marsh.a~~ Cavendishhad some 300 staffand freelancers in themid 80s, Carol was one of them, But she was young and srnn,~eand treated the flirtatien s of ,3 marriedmen with good-natured put downs. Little did \¥e know that 10 years down theIine wed be together;
After the ne~apers,

Me was one

of the ffu'st London publishers to embrace

M} take en Man.et:s· 7'he

Bar at the F'd.;t.Y-.Bergi:nl

new technology and I happjly exchanged OO\V gumend Letraset fo["an App me Mac, I have been ruM.,gar:.~n,gm.y ayaroundvarious w software packages ever saice, During this time I worked Elsa postaill.utor ~forThe Open College of the Arts, t
taking lubes ofwork fn)m correspondence encouragement Commuter mute into thenightand students, marldngit, wr~trnng words of pesting .Hback the fo~~ow\in,g day: For the

fci I on mnv~

1(86)

m;'1;J!(,leri· - •. &. d;'V1~nr.ed.·... -""" .. _ooy._ . ~y_'"

Study Club I formed the Movru,g .Air Club jn a dedicated carriage on the and a baill~etdancer; And, during this .a~~ this tiene, my

frollT the wall of Mar:naU

7 ~47oorTh r~ghton to Vilicto[~a train teaching portraiture on WednesdaymOftlings to B

Cav.endiYrl sUfi canteen.

executives, accountants

marriage wasgradualty faID.rnilingap,[irt In 1!992~with Britain nose-diving iato recession and

l\1:C ~ayru:ngoff staff, I moved to IMP Ltd, another

continuity publisher with a large new development team .. l worked on a~~. orts of subjects, deve~op~ngmnilin~y for s
the ,Anl.edcan market indud~:ng::Hfftllth &
FitrU3);'

(col ~ecrrub~ecard product) and In Ciawrul M (xxi (a book

with CD) wh~.ch\Vem mU~f~-prna(iinllm US,. Carel in

joined

Th11[~'

h.aving spenta couple of yearsin Australia

Oil on canvas
W work

where shedgotmarried ..Weworked \VeJ]~ together, so

were often paired up

on the same projects,

1,2~'x ·3'6?'1!9 9'6

uN····.··,·1I
.~"

Oil on canvas

3 '6'~x 3'6'~1 9'9,6

Fre sh S: B. rt
].995 \W,S.a m.ajormnlru:rl.g point in my l~feand for my act. I 1\eftmy wife andmoved rnnwith Caro~, who had ~eft herhu sbandand was, sharing a ilatrnn Battersea Square. W ithout the demend s of fan~~y~~fe andwith the presence ofa very desilirab~eoom,an COO!:1JJehe need to capture the sensualliityefthemement. t The desire to draw and to paint came flooding back. Imademyfirst~ife parnntmng of Carol 'Nol". Her
=

support and encouragement

gradually restored some 'Of .my~ost confidence,

\WlS

HavingaJive model who was wirn~:rnngto pose for hours on end wasfiberating, Having b8Jrel~touched a brush ina decade, I
surprised to findmy workhad

rn.mproved,.I put this down to years ofgr.aph~cs honing my visual ski~~.s,. painted I
directly onto the canvas, just describing in paint what I\'WS. seeiag ..Larerpaintings became more centrolled ~ less urgency .a~~owingme
[0

refine by drawing fii[st,

.21

Publishing had beenjn decline fur rome rime, and in 1'9;SH5 Carol and I
were made redundant, Card had a baby a monrbJerer (NumberThreeif

youre counthig)

00

she had herhands fidt I went freelance and became

Ar D···· to M .res\.~ U .• ~,... .' sed" Act on. .····t nrector ....:r .... ~P . '.'.lP 'brsh"m.,gb m .....m..•......• ..

C,aro~ine
Whileworking there with photographer Jeff Carroll lwas introduced to
a fabulous couple from the ongiaafLondon autumn fedsh scene ~ Sebastiaaand

Caroline Brnoclde~They tokl us abouta new event planned lor thai:

which turned out to be the very fu-st Erotica exhibition at

O ~ynIilJP~,a., Careland .my painting career,

I agreed this sounded mruke a good 'veh.~de£0 launch

SO

we booked a stand and I continued to paint

furiously for the next sixmonths, Caroline kindly offered tomodel fur
me and became the in spiration for sever,alIpaintings aad drawngs,

.M Erotica, I was offered £10,000 for 'Caro~ine? by a man wearing very expensive shoes, He wanted 10 pick her up the :fo~~o~.ng weekand asked where my ,gaUerywo.s., When I explained that I wasnt with a
,grill~ery end worked frum home in Peckham, he just turned and wslked .away., I didnt want to. sel]m her an Y\WlY But ~tdoes beg the questien.js !

art on~y of ¥alline~frut~s sokl by a Cork 9:reet ga~~ery willth a whopp~ng price t~ on~t?No,~t~soorthwhat someone is prepared to pay fOr~t.

Fmm this painting ~ produced our first fiillne.hr Trade Gujld registered ~:~mruted edition print (£0 [he consternerjon of some GIJ~~dmembers),

"
Oil on c anvas 1,4f~' x 3'6'~'
1'997

P,enc ll stud les

of Caroline
9! 1119'9 7/

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Bf2ade-

IN,Q GI ,0 in'QI lsa c k

One of the most difficl.1~tthings with o~~ paintingis knowFng'when to stop, 'Red

Sru~kBlack Leather' demonstrates this point as, I wok pictures of rnI at various stages; the pencil drawru.ngon primed canvas; the skin tones washed inwith white spiritsnd.a
hint of burnt umber and cadmium, red bindingin

thegrsphite pencil marks; the and lasdy the background and

gradually bu~U up to complete the painting I reaUy

figure and robe painted with thinglazes; sofa brought inand

ike(!, the looseness of the intermediate stages, but once the o~~paint is

app~:~ed as with watercolour ~ there's nogoing back. I can never decide ~ when a pieceis finished ~- the more h~gh,~illghtsand ~,ow]~gtltsand detail
I add, the

less painterlyandmere

photo-realistiea painting becomes ~

someti meslosing

some of the freshness of the underpainting [ve drawn Carol

many tim,@;,

ILa ve rs & Hme ndl s

It\VOu ld be .~ove.[yto be ina posalento pay mode~s, Bur \vl:l~.le\VOrkm,g towards, that point, I have relied on the generosity offriends and lovers, While Carol
'WaS

Scmet;m~'J dad

heavrullypregnant wrnth our second child (my No .. 4), her

at

ai m f.or a true
likm(jJ.;)· but ,u&t het !rutunts as a bas: from, which tv ,a~mfe different looks

gilidfdel1d Sheila letme paint her ..My friend

work, Bdward vvasm.ost

00

amused: "Jnst let meger this right: Carol is pregnant,

once a fortnight

her best friend comes round and tak:esaru.~ clothes off 00 you can look her

at her?''hh, thet's right,' ~. I too okl to take up painting? heasked,

6h~~_6~~ .;». .;».

o W-MlA.Li_~

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IHIENIRlf WAIRD BEECIHIEIR

,26

My flnt public eihibi.ri£m. With Carol &Hazrl at

Erotict4 Olympiar J 99'7.

Going public with 'my art wasaneree-waeking experience, but also a lot of fun, The ..
.~'

very first Erotica eshibition in November '97 brought the fetish scene outin forcedressed to party When I and .my friend Mo Pong (17~stone biker) stood on the stand

~ikea couple of hired heavies, buyers seemedinrimidated. So ~~e:ft Caroland her sistee; Hazel in char,ge and sat ih the nearby cme, people watchicg
It soon become dear how difficult itrus
contactwah
IO

seJ~art - risqueart especi,a~~y.. We didnt

cover our stand costs at the Jiirst show, hut lwas over\Vhelm,ed\M1lh~nterest,made many new modekand s,],gned a few private commissions, So many up With
SU!(lfl

& Stephen

M)~ slot i n Eraica~·.AIt Gallray. u»Ulcn 2'00:3.

poop le commented that they moved .~ilJJycanvases but had no waill~,space big enough to hang them, thatafterwards I djd produce some 8Jma~1ler anvases..I have since [ended c to concentrate on my pencilwork because I can try
different ideaswithout the oomm:~tment to time that

Van S(0JQC- n;OW'/amiliat, faces on Of,U" stand

the paintings demand ..Bur I've become increasiling~y obsesshewith detail in 'my drawings SO I do enjoy
working the expansiveness ofbjg canvaseswhen I can.

Crunch
I didnt gel a chance (0 Jo~~ow those early leads, Two up weeks after EroHca lwasknocked off my Bennie on
Great Suffu~kStrect,~n broad da~rnghtby White Van Man ..He hadno tax orinsurance, 11aturaU.y.. On. the

up-side, ('WQ paramedics werejuS( around the corner and fourwirnesses were stood drinkingtea om side
Chasbikes Motor-cyd.e Workshop. On the down-side, the police ~ostthe peperwork! It putme out of'action for six weeks and sermousl]y dented our finances,

Lturnedgreyslmest

overnightafter the accident, And

because 'of~t, lhad no new work to showat Erotka's nd ··"L.]'b~i~1 tne to ;'i . M·· .' . secon . exninmon. ." I "··IT,,II O\V!I!ng ay, b ut \.\38
I

persuaded to take a ~]ot~tl the .ht GaUery \ID.ere I have exhibited ever since - now as a member of The Guild ofErotic .Art~.sts~a co-op of ~ruke~nrrurunded, stubborn optirnJl!ilists determined
(10

make a~hriling fr():m their art!

lhls Show'QI uld e

I pltched for the Erotica ShQVi'gtl~de contracrafter meeting Sawas Christodoulou, .Bob C(lJ~(1)'Clarke wht1XS
f

ErOlkri's Chairman,

at the second show. W~{bCarols edaorial input, the

showgurnde hasgradualfy evo~.vedinto amagazne. Puttingit together each aut umnisa labour oflove But we can for the two of us.. By the time itgoes to press, three weeks before the show, wereknackered. say,wruth straill.,ghtmces, when asked at dinner parties

p}utographs.1 lwtru aft~· in mYflVmti ~ is Mill

taking drop dead .MS!

'What do yon do? that we test se.x toys for a living, Eroticais our public face (the only time I come om

am~year),

Exhibitionsare

hard work, ~o we save

.Ringma!lr!J;

SdJmtian

trots

ourselsesfor the best one, Most of the European adult shows run off the back of the pom industry,

pa~ with hi,',; cn..y gi d.~ p

Eraica; .Mely .l998~

0.11

but Erotica remains independentand

the ~~Ideguys -vartistsend

hasa.place for

craftspeople that give the showits diverse Uuvonf., In

eperation of m~lilltary plsnning, fnrn~~ymembers are :lJlO\Vtl down from Scotland to

keep the kids fora 'Week. Our very good friends Stephen and Slsnn Van Sooyoc: gruve up Eroricaueekend exhib~.~orsand

ShanJ,e1~'plugfor the

every year to hempman the stand so that we can check out new productsend gather material for thefo~~owft1.,ge.:'1f~showgurude. y s

fJ,uphia s.de

oj the
bu.ine!U.

Top TotUe
Lmustalso mention Andrew and Emma Dempster, A couple of years .ago, Andrew
COLIr(

got bored exhibiting withan eq uestrisn rerailer at The Horse Show in Earls andsbsconded to Erotica. He tracked me dewntoaskif'he could transfer print one of my paintings onto his Ducati. later, heintroduced me to Tottie -a clothing brood (hat sponseredan ,aU.~fema~e polo teOO1. Thus my polo prints were born, In September 2003, .my father died suddenly I drove north

meavrnng Carolia
.011

charge of the

show:gu~defashion sheot jn Romfurd, the officein

Bd,ghton and the kids

.D(;11Otet/ fan.~ Nic retu ms eat:h yw' to
fhrJW

one 'of our busiestweeks

of the year; Card calledin childcare favours from the localMother's M,af~a, and Bmma cmne ,ga~~op~ng to her rescue as chauffeur and fashion sty!iJ].st.Where would we bewithout farni~yand good friends?
us wh~ce

Calvi'S berm tatu.rJffi next!

--

Sharing the malel

with .Vllptor
Len Gifjoni,

With .bn 'Birks oj Ronm1 at The .'Bloxham Gatlerys Eraic Valentine.

36

'· M.Mt~· Cj~···J· UltAlne

O(eny) at Erotica" whi~,*wioff her aXd

to revWli her bare
bCftOfti

and aiJcrid if
Fd draw her.

.Hold ir right there...

3" IIYn.C.
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Fet~sh Fa,sc ~natrnon

I doni: think ofmysdfas art~st, btu I readilyadmit In a SUding Deers mement
[\MeiUY

a fet~sh to

being obsessed by fetrnsh~m,&ge:ry"

yearsa;g()

I ,arumo st
faseination fer

accepted a job asa fashion

designer sadmy evohm
[0

fem,~e fashion remains, We have

recognise the phys]caru

d~.freren.resben.veenmenoo.d
women (useful when selectinga

breeding partner}. Fetish dothing works by targeting and .h~gh~.~.ghtirng these differences. A woman has less body hair thana mrul; tskeit aw.ay completelyand she becomes even. more' woman,

Add sroddngsto crane a s,]llky supeu-skirt" Shrink -wrap her in ~,ar:exand bu ff to a hlgh ,gW.o&~ sheen to take this 'One step further. A women has a narrower waisr, so the constricrion
of a corsetmultipfes that gender sillgn,at High heels forme the hip girdle lorward, thrusting the buttocksand

chest out,

(0

givea very different shape to [hat of a.m~e.. looking at a woman ...I

['0.

Suboon.sci;ou~ywe pick up ona multitude ofthese srn,gnal]s every day; longer eyel].ashe&;

fllner~[ps; longer, narrower fingers or a sillim neck tell uswe are

use these instantvisualmessages, these gender differences, when attempting portrtty the 13u er- sexual' woman. p

RJ~se, Pose & Arop:'s

" I

It's not

011~Y the

clothing that carries a ntessage of sen.sna~ty,rufs

.~80

the pose, posture

sndattitude of themodel thatisan

importanr part of the narrachr.e. Wherher the

subjeetissn

active dosninant persenality ora passive submissive, either can be hinted

at by ,3. ch.3ill~.en,gWngtare or dewncast e;.yes~hands 'On hips or hoods behind .. Weger an s insru,ghtinto that person's sensnaill~tyand sexuality Equipment and toys s]mp.~Yadd to the tension and erot~d~m.I use the syntilJbo~w.Slm ropes and straps, chains and cd.~am.·s, of
whips and r~dJng crop s to add to the ]:nner pertraiture' of the sitrec

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My Mistrrm'/or the last 12

yttU's - my

IBr~gl n Ro c ks hto
I moved hack to Bdghton wkhmy second family in 1999 - thr.m.ed to be back is forme to be from the back garden feU likea new between the Downs and the sea. I was rem.mdedhow~mportant~[

'76

Triumph Benner; lie.

ableto see the horizon. Viewili:ngthe somaredipse

,gruwn,g up on the trains, oeer-headng

beginning, I continued to commute to West London for a couple of years"J\fter (he car and seizing-up the Bonnie, I was, doing

the ] 50-mi~e round trip on a lOOOocBMW. EvrotuaUy I decided Hi rather be broke Portrait (/
JX1m1.f4

and happyworking sr home, than joilln the road -lci.~~. I~messed

d.aili~yon (he M25.

Camljs y.lJ11b~'1 sistet:

I .am an intensejy private person, I very, very rarely n1l.110w dienlS to the house and

o: l on mnv~

20rJ/..

prefer to remmn the 'hefiHilJ~t crab' that I have boon caru.~ed.,Our sm,aru~ house mesns a
restricted working space though ..Lwork wherever I can dear a

space. which usu.a!I.~ym.eanscross-legged on the carpet, I tried pailindng on sma~~canvases but missed the expansiveness and ~mpact of the lac,gel scale, so have now returned to a
dimension I feelhappier

with. On the art side 'Of the business

:~nBrighten our

we frequently get weekend ca~~s. from peeple Who have just

stepped off the train askingwhereabouts ganery~s - I have to put them off..No carn~ers!

Proc reatlon
] have four wonderful children. They were born 'Overa
13-year span, so] have been doing the baby bit lor some

20 years now.~s,

] am a newmen ' -present atall the bieths

(0

and subsequently worn

a frazzle Carol and] perform. an

elaborate jugglingaet to loo~my

art andgeaphics work. her

editorial work, finances, house and children, This has drivenme (spaet frominsane) to working m,ain~
during schoolhours and wh~~ethe kidsare asleep, usually weU

into the night, But it sure beats cemrnuting,

46

P:layi ng w.i.th Msfron1 my Nikon in PJu)/uWcp

ontheM'acJ

www ..ea nmn'QI.. O .uk t c

I launchedmy own homemadewebsitein
QUl to'

199,9, Turned

be a steeplearning

curve, I began by posting high-

reselutionineages, bur discovered thet people were happ~~y downloadmg them. and printing them offthemselves - not good for sales I now post on~y m'OWresolution wetermsrked scans, Visitor numbers have just tipped the haruf~i1JJrunruonm,ark. The web has a~~o\Ved 10 reachmany more 'markets thanany me one ,g9ll~,ery could.akhcugh it 's rare to se~~ od.gruna~.over the an
web, Advances in technology havemadeir possible fur me to

produce quality prints of mywork and hjgh resolution scanning and ,archmvfllgmeans I can now 'print on demand' a range of ,gjc~6eopen edition prints These open editions have proved a very popularaddition to the exrus{~ng~mHed ~ editions printed by tradjtional drylaho. I now have ccllecrors from USA, Canada, Holland, France, Germany; Sweden, Geneva and Australia, Many girls now approach ..me via email.usking to' model forme ..The professional models ,arema~n~YMl1JJerrucrtnand Canadian .. If I cant rake my o\Vn reference SiH)IS then I a~w~ ask for permission from the photographer invollved,and there's no payment invo~ just ,good'lMn and some free sili,gned prints ...And themodel gets to usemy iml1JJ,£I,geher on herwebsite, of so everybody is happy,

Ufe Exper~enc e
I do prefer to work from ~rufe,~t gilivesthe work a quality

'Of rea~ty that I have t .0 pul~

~fi'om past drawing experience if rm working just from photographic references, BUI skerchru.ng from lne sittingsisa rare luxury I now use a. Nikon d~gili.ta]asmyadditional 'Sketchbook', This has. meant freedom 10 draw poses that woukl previously have been
~mpo&~]b~eormy~ong-suffer.~ng model to hekl fur any length of time ..Standing ~n f

st~~.ettO'Snd tight-laced corset, bound to a pole, for e:xaDilJple are now feasible and an a

obsessivelevel ofderait can beachieved without numerous sittings, 47

and BDS!if, I have·evohred. a.fascination for the poser-play berween the dominant perron.aJtityand the submissise, The
classic roles of deminetrix aod sillave with .a~~ their mukirude

of refinements andvaristions are a stunning sour-ce of very

powerful ·~m,a.gery.Irons of sexuaity ..I ikew "keep my

~m.age.,~. a srnn~e ·figure, in~Nng the viewer to perticipate to as the m.~.$-s]n.gartner ..Viewers become pan of the scene p voyeurs. sHU. but active in their reaction to the image,
T hereis an .aillr of expectanGY fur something therisabeu happen; something sen.suaJ], sexu~ or shoddng,
t
(0

Theeeis a delicacy to the submu&~]vewhich can he

made aMthe more fragile by portrayaig her as phY8'1caUy

resrrained.wairing ~forpelllWSSJ]Ofl,\W,mNngfuJ" attention, Dorninatnx ima,ge:rycarriesimplied po~~ snd contrel; a directness. and dramat ic sexual ten Si]Ofl that dares you [0 look.

Pr~vateWe> rldls
Asanartist,
I have had many

a p.d.vHleged~nsrngh(

into my d~.etlts' very private m~.ves;workls 'Of

exetic sensn~ity for whkh. I hokla deep respect ..

The bedroom. theatreis

reveal a different persona

one place where we coo.

(0

our everyday lli~ves.

I have been asked to draw and paint some very beeutifhlladies, but my private oomm~&",!]ons must: remain just that - private .. Most are never seen by the outsideworld. Collectors who OOf.1J.(The [0 Erotica .aranu~lliy see my new work must £0
wonder wh.at I do with .myseJf .a~lli year.

The lcvtdy Tia who kindly ccn.murl to me

publidli ng

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pn vately

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