Computer Arts - Issue 86 / 2003
I LOVE ILLUSTRATION / Top 10 Today
Look around you. Illustration is back. Re-born for an audience
that is hipper, more visually aware and more demanding; this time
contemporary illustration is taking no prisoners…
Illustration is hip. That's official. From the pages of that monthly
style guru, The Face to the T-shirts for ultra-cool fashion company,
Silas and ad campaigns for the big boys, Nike and Adidas, right
through to the Design Museum's new identity, illustration has
come in from the cold. Where once illustration was graphic design's
lesser-known cousin it has now re-emerged having been re-thought,
re-worked and rejuvenated. This re-birth has not occurred overnight,
and for some time now an underground group of individuals, for
many of whom illustration had been considered a 'dirty' word,
have been spearheading change by producing great work that quite
simply has just demanded attention.
We take a look at, who we consider, are the ten most wanted, those
that have instigated illustration's dramatic return to form and
those in the process of instigating the next key advances. Of
course, creating a list is controversial: who is in? whom have
we left out? The criteria were simple, excellent work for excellent
clients and in our search for excellence we've looked across the
board: ideas, execution and originality. A pretty tall order but
all of the ten we feature over the next few pages have excelled.
Agree or disagree with the list, one thing is certain; this is
the work and these are the practitioners that define illustration
today. Whilst illustration is hip, it is also here to stay. That's
official.
Lawrence Zeegen is an illustrator and educator. He has worked
on commissions for numerous newspapers and magazines, for design
companies and advertising agencies. He is Academic Programme Leader
for Communication and Media Arts at the University of Brighton.
Zeegen's work can be viewed at www.zeegen.com.
Ian Wright
Ian Wright is the Daddy, or maybe even the Grandfather of contemporary
illustration.
From Ian Wright's first job, at the fag end of the seventies,
illustrating the cover of The Undertones' Teenage Kicks 7” single
to his frenetic weekly black and white portraits for the New Musical
Express, in it's eighties hey-day. From his in-your-face billboard
campaign for Fosters Ice in the nineties to his unique in-store
installation for Issey Miyake in New York City in the noughties,
Wright's work has spanned four decades. No small achievement.
Never one to stand still long enough to cash in on a creative
approach, Wright has constantly forced his work into new directions;
testing new developments in technology and mixing up techniques
and materials, whilst creating unique visions that have remained
in a constant flux.
Ian Wright never planned on a career in illustration. He didn't
even plan a career in art and design. It was whilst working in
a clerical job for the NHS in Old Street, way before that part
of London was at all fashionable, that his colleagues, all women
twenty years older than himself, persuaded Wright to get himself
off to Art School. A year of evening classes, another on a Foundation
course and three years sharing a desk with new pal Neville Brody
at the London College of Printing saw Wright enter the industry
just as punk rock became new wave.
In May 1980 The Face launched it's first ever issue and Wright's
work featured within. Fashion, style and music mixed together
with contemporary design, The Face was the perfect outlet for
Wright's fresh approach to image making. His work, twenty-three
years later, bears very little resemblance to those early manic
drawings but the spirit within the work is as visible. The use
of materials throughout Wright's career have changed from job
to job, he has created images using just about anything that has
come to hand. An early portrait of Grandmaster Flash saw Wright,
work entirely with salt to replicate cocaine as a reference to
the seminal rap track; 'White Lines'. Wright adopted photocopiers
at an early stage creating images by changing single colour toners
within the machine to mimic the screen print process; building
layers of colour from separate artworks into one final image.
Working independently within Neville Brody's studio, for many
years, allowed Wright the luxury of dabbling with early Apple
Macs and his choice of software in the early nineties was Kidpix,
a funky little application created, as the name implies, for kids.
Portraits of Mike Tyson, Bjork, Ian Brown, Pete Townsend (the
list goes on) for record sleeves and the music press, have allowed
Wright the luxury to slip effortlessly between the analogue and
the digital. Currently creating a portrait for Black Book magazine
in the United States of, civil rights campaigner, Angela Davis
from 1000 mascara brushes and another for The British Museum of
Henry Wellcome made entirely from reflective dots it is not likely
that Wright's inventive image making methods will ever be tamed.
Having demanded huge respect for his left-field approach to image
making, would-be illustrators and designers often approach Wright
at his studio in East London for advice. Simple, he says, 'Keep
The Faith!'
Jasper Goodall
Dark, moody, raw and sexual - the visual world of Jasper Goodall
'A mag from Japan called 'Tattoo Burst', a book of erotic Chinese
art, an incredible Korean book that categorises thousands of animals
and gives 50 different stylised representations of each of them',
Jasper Goodall is describing his desk top in his Brighton studio.
He continues; 'loads of empty tea and coffee cups, bills I haven't
paid, bits of paper with my drawings on them and, oh yes, all
my computer shit'. The fact that Goodall's choice of kit including
a G4 Mac running Photoshop and Freehand, a Wacom tablet, scanner
and all manner of digital devices seems to excite him far less
than his felt-tips, pop-a-point pencils and wealth of global visual
reference materials is an indication of how this illustrator approaches
his creative work.
Drawing upon a range of interests, he went to Japan recently to
train in martial arts, Goodall has become pretty adept at creating
fashion-based, but gutsy, illustration work for major advertising
campaigns for a range of clients that include Levi's and Nike.
It is, however, his work for The Face that has always excited
him most as creative control has remained firmly within his own
grasp. 'I hate clients that dictate, I once worked on a very big
project for a stressed Art Director that slammed the phone down
on me so we only communicated via email. One email, demanding
changes to my artwork, angered me so much that I spat at his message
on my screen!'
Angry maybe, but prepared to stand by his principles; Goodall
recently attacked The Observer for making changes to one of his
illustrations, removing a semi-erect penis, without his permission.
A leading monthly design publication ran a two-page feature on
the fiasco looking in depth at issues of digital manipulation
and ownership of copyright after Goodall made them aware of his
shoddy treatment. 'The best thing about working in illustration
is the freedom but the worst thing must be the number of talentless
art directors that desire control!' explains Goodall.
Sex remains at the forefront of subject matter explored within
much of Goodall's work. Citing pornography, along with Gary Numan
and Bret Easton Ellis, as an influence begins to explain his visual
take on the subject. Images are littered with fashionable and
beautiful, often vacant but at other times powerful looking, women,
mixed with an undercurrent of a much darker, moodier place that
exists in Goodall's world. It seems fitting that Goodall has just
completed his first fashion range; a line of bikinis launched
in conjunction with his agent, Big Active, at a fashionable gallery
in West London. Goodall's 2D fashion world finally meets the real
world in 3D form, harnessing the same attitude captured in his
illustrations. Girls, wear a Jasper Goodall bikini and feel the
power!
Joe Magee
Film making, exhibiting illustrator finds creative freedom in
saying 'No!'
From Liverpool to London to Manchester to Bristol, Joe Magee
has been on the move. Having studied in his home town of Liverpool
before going onto the London College of Printing and then, at
MA level, at Manchester Met University, Magee has finally made
Bristol his home. Now immortalised across the city for an exhibition
at Watershed, Bristol's cultural melting pot, people will often
say 'ah yes, the rabbits' as they nod in recognition. The rabbits
were part of an animated piece about memetics, mind viruses, and
included endlessly replicating white rabbits on a red background
that have, according to Magee, 'found their way into many people's
psyches… so the idea seems to have worked'.
Magee's images garner responses, from his audience he provokes
reactions through his work and finds he is commissioned because
his work has a point of view. He cites his most memorable job
as being the Penguin cover for Clockwork Orange and with his heroes
including Peter Saville, Andy Warhol, Vincent Van Gogh, David
Lynch and William Heath Robinson it is clear that he has a high
regard for other independent thinkers and creators.
Having worked, utilising digital media, for many years Magee has
developed a creative visual within his images that evoke their
own unique sense of individuality, their own look and feel. Magee
puts this down to retaining creative freedom, 'I've never been
motivated by making lots of money, and I think this has really
helped facilitate creative development. I've always felt compelled
to remain independent and tried to feel comfortable about what
jobs I'll accept. The reality of saying 'no' to big bucks for
an artistically or ethically challenged job is harsh but always
feels good in the end' he explains.
Magee works at a prolific rate. He has to, with two illustrations
for The Guardian and one for The Observer being created every
week of the year, before he even takes anything else on, Magee
has his work cut out. Other Illustration commissions continue
to arrive on a regular basis though, 'I've always had a steady
stream of work from the USA, having worked for The New York Times,
Boston Globe and LA Times. I've also worked regularly for Libération
in France for many years.' It is the extra-curricular projects
that keep Magee motivated though. Currently in production is a
short film about addictive behaviour on a deprived council, 'I'm
becoming more and more interested in making films, I've found
it difficult to stop making films. I've made about ten in the
last five years and am getting more commissioned' explains Magee.
On top of the illustration and film-making Magee exhibits, 'I
like the freedom in taking on independent non-commercial projects,
like generating a series of large digital prints for an exhibition
at an interesting gallery' confirms Magee.
This is one independent, film-making, gallery exhibiting, illustrator
that will continue to make the most of his creative freedom, we
suspect.
Kam Tang
The Vector Master that takes one job at a time, perhaps two…
For the guy that won the Creative Futures Award for best up and
coming illustrator in 1998, his first commission was hardly the
biggest job on the planet. The brief? an image that measured 6cm
by 3cm for a radio listing in the Radio Times. In the five years
since the award, though, Kam Tang has worked for clients across
London, Tokyo, New York, Munich and Amsterdam.
Initially, recognised for the finest vector drawing abilities
around town, Tang was commissioned by design group GTF to create
illustrations for the annual prospectus for The Royal College
of Art. Tang had studied at the RCA himself and knew how best
to represent the hallowed sanctity of the place; a vast hand-drawn
illustration of the exterior of the building was created using
just a few minimalist vector lines. The real beauty of the piece
was in an extremely detailed, exquisitely full coloured rendering
of the ice cream van that parked outside the RCA on a daily basis.
The emphasis of the piece was so wrong but yet so right at the
same time.
Reflecting on his own design approach and philosophy, represented
in the early RCA commission, Tang keeps it simple, 'Ideas first'.
It has been this simple approach coupled with unmatched vector
drawing skills that have impressed a whole range of clients. Tang
now counts CD sleeves for Merz, billboard and magazine advertising
campaigns for Adidas and recent identity work for The Design Museum
as amongst his most favoured commissions. Work has continued to
flood in and although Tang describes his role simply as 'being
my own boss and making my own works' it is clear that the flood
is not without a certain level of pressure. Juggling deadlines,
clients and commissions from his studio at home in South London,
Tang admits, 'you can output an incredible amount of work in the
final moments of an impending deadline but never at the start!'
Tang goes on to offer advice to aspiring illustrators, based on
his own early experiences, 'never take on more than two jobs at
once'.
Watching, film director, Stanley Kubrick's movies as well as old
Bruce Lee kung-fu movies, listening to Mozart piano sonatas, catching
up on comic artworks created by Jack Kirby and George Herriman
as well as 'investigating nature and science', as Tang puts it,
are all key aspects in his influences as an image-maker. New Yorkers
- Saul Steinberg, Milton Glaser and Seymour Chwast are all admired
by Tang too, but it is perhaps his own left field take on the
world that allowed him to see the beauty in that ice cream van
outside the country's highest seat of art and design learning.
Shonagh Rae
Situation Vacant. IT Specialist required for busy ex-print-maker…
'In my pre computer days, I worked using relief printing, a very
long winded process that often meant all night sessions in the
studio to meet deadlines', explains Shonagh Rae from Studio 100
in East London which she shares with around twenty designers,
architects and other illustrators. 'Occasionally,' she elaborates,
'I would have to courier work that was still drying. One time
when I got a copy of the magazine that an illustration appeared
in, I realised that the artwork had completely stuck to the inside
of the envelope in transit. The Art Director had made a vague
attempt at peeling it off but it had gone to print anyway! I booked
on a Photoshop course the next day'.
That early lesson was a tough one, but it did change the course
of Rae's work in a way that she could not have imagined. Currently
one of the busiest illustrators in the editorial and publishing
fields, Rae has successfully developed her time-consuming, labour-intensive
print techniques into a digital process that echoes her earlier
work, evoking much of the textures and richness, whilst never
needing hours to dry. For Rae, though, the digital does not come
without another set of problems, 'one of the worst things about
what I do is having to be your own IT specialist' she explains.
The fact that Rae is currently working on numerous projects means
that she may well be on the way to employing her own IT professional
in the future. 'I'm working on a piece for Mamm Magazine, an American
publication for women suffering from breast cancer, three book
jackets for novelist Jake Arnott, another for a new author, Louise
Dean, images for New Scientist magazine, others for an annual
company report and some editorial stuff' lists Rae. Represented
by the leading contemporary illustration agency Heart, Rae understands
the value of having an agent to assist in managing the financial
aspects of the job though, 'I decided to work through an agent
as, like a lot of flimsy illustrators, I don't like the messy
business of talking money'.
Rae is very happy with her current studio set-up but the route
to joining Studio 100 was not so straight-forward, 'my first studio
was above Burger King in Camden, and in the years since it seems
like I have shared a studio with pretty much every illustrator
in London' she explains. Rae's approach to her work, her journey
from print studio to computer screen via numerous studios, is
echoed in the advice she gives to those just starting out; 'develop
a personal way of working and then decide where you might fit
into illustration, rather than the other way around'. The IT skills
can be picked up on the way.
Spencer Wilson
An organised perfectionist, Spencer Wilson's approach and work
ethic are 'boring'
Spencer Wilson is boring. His description not mine. Reliable
or efficient may be a more apt portrayal although not according
to Wilson; 'my approach to work has always been quite boring,
I always get jobs done on time, I make sure that I never work
past 11.00pm and, if I can, always anticipate what the client
may ask for next' he insists. 'I make a regular point of visiting
Zwemmers, Magma and Waterstones book shops so I can keep abreast
of what is happening in design, the last book I bought was Graphic
Design for the 21st Century' - how boring is that?' asks Wilson.
It has been this singular vision and professional outlook that
has assisted Wilson in winning commissions as a busy illustrator,
combined with a great eye, a sense of humour and a unique style
of work.
As one eleventh of illustration collective, Peep Show, Wilson
is another for whom the lure of the personal project and the exhibition
is strong. Peep Show have held exhibitions for clients and friends
at locations around Hoxton and Shoreditch, putting themselves
on the map and, at the same time, creating traffic to their group
web site, www.peepshow.org.uk. The members of Peep Show, many
of whom studied together at the University of Brighton, get together
once a month to discuss projects, organize exhibitions and publications
and it is these group events that help keep a sense of community
in what can be a solitary existence, 'the solitude is the toughest
thing about working from a studio at home' explains Wilson. 'I
began working in a large basement live/work space in Bethnal Green
working with two other Peep Show members, the place was dark and
rough around the edges but the positive side was the landlord,
a mad ex-photographer, who let us do what we liked' admits Wilson,
'I worked on a small desk using a chair I found on the street
and an orange imac, which I loved'.
Wilson is organised at maintaining contacts, he advises 'see one
industry person and get a further three contacts'. He keeps in
touch with his own clients through regular emailed illustrated
images reflecting current interests and thoughts. A recent piece
pictured three advertising creative types around a table responding
to the question 'How many Art Directors does it take to change
a light bulb?' with the witty one-liner 'Does it have to be a
light bulb?' It has been this type of humour in Wilson's work
along with his neat quirky little characters that have led to
commissions working on advertising campaigns for Ski, Buzz airlines
and Sky Premier, 'I enjoy the buzz of being briefed and creating
drawings and I like the lifestyle, working to my own agenda and
getting personal projects out there too' explains Wilson, without
even a hint of boredom in his voice.
Paul Davis
Dubious drawings, impending gloom and bits of flotsam - a desktop
in Hoxton
'Last year, during the World Cup Finals,' Paul Davis recounts,
'I called a client to say I was ill and needed a few more days
to finish a job. At the same time I clumsily moved on the sofa,
sitting on the remote control. The volume increased dramatically
and the client heard 'and that's a beautiful goal from Ronaldo!'
needless to say I lost the job'. As well as his legendary love
of the game, Davis also is a big fan of at least two Soho private
drinking clubs claiming an award, in his own words, 'Drinker of
the Year - ask any landlord'. In reality Davis has picked up awards
as 'The Best Illustrator Working Today' by Creative Review and
'Cartoonist of the Year' as voted for by journalists and his work
regularly features in the D&AD annual.
Instantly recognisable, Davis's wry take on fashionable Hoxton
and Shoreditch types have been spotted across the pages of various
magazines including Dazed and Confused, Time Out and The Independent.
In fact, it was an eight-page fashion feature for The Independent
on Sunday magazine, commissioned by Art Director Jo Dale in 1997
that Davis attributes to being a career-defining moment; 'the
phone hasn't stopped ringing since that job, thanks to Jo' explains
Davis.
That phone has also rung recently from clients all around the
globe, 'I'm working on a cook book for a Canadian publisher, a
series of images for an exhibition in Paris, a set of prints for
a gallery in Tokyo and a calendar for Save The Children in Stockholm'
Davis casually admits. Davis is working on a couple of projects
that will see publication later in the year too, a book for Browns
of his unpublished work and another for Laurence King on how America
and Britain view each other, he recently toured the US drawing
and speaking to people as he travelled recording their thoughts
and opinions.
Davis adopted digital technology purely as a means to document,
archive, market and distribute his work and when asked to describe
his working space says very little about his choice of hardware.
In fact he dryly lists the following items, 'a computer, a cup
of tea, a pile of papers I'm too scared to look at, external hard
drive, bits of flotsam, scanner, dubious drawings, impending gloom,
video camera, mouse, dodgy erotica'. More learnt about the Davis
state of mind than the working process.
Much of the drawings are done on the move, Davis works in small
sketchbooks, capturing conversations, moments and moods, which
are then translated into final pieces back in his own Hoxton studio.
Quick sketches, doodles, drawings and observations are a vital
part of the Davis working method, he once exhibited three thousand
drawings on Post-Its at the Dazed and Confused Gallery in Old
Street, and continued hard work and determination have paid off.
Davis has come a very long way since his first commission for,
the long dead London listings magazine, City Limits; 'I got paid
12 quid. Honest!' His earlier World Cup 'honesty' springs to mind
once again.
Marion Deuchars
Research and development through play for Marion Deuchars' ever-evolving
images
'I have numerous incidents of missing artwork,' recalls Marion
Deuchars of a time when all her illustrations were created outside
of the computer, 'the best was a returned A2 painted illustration,
folded carefully into quarters and squeezed into an A4 envelope.
My mouth remained open, in shock, for quite some time afterwards.
Luckily nowadays most of my work is sent digitally'.
In fact Deuchars learnt to love the computer quite early on in
her career and prior to representation by her agents, Heart, she
mailed out to clients mini digital portfolios saved onto floppy
disks, way before CD Rom technology was an affordable option.
A new body of work that began from scanning drawings and paintings
and later combined her digital photographs presented itself well
as a digital portfolio, way before most illustrators had even
considered this approach an option.
Deuchars is amongst a rare breed of illustrators that continue
to adapt and push their work into new directions and it is her
studio set-up that enables this continued research and development;
'I have two desks, one for the computer and one for playing on,'
she explains. 'On the computer desk right now there is a G4, a
Wacom tablet, a calculator, a Nikon Coolpix, a telephone, a diary
and a list of things to do.' Deuchars makes an attempt to define
the other desk, 'my play desk is full of stuff, paints, paper,
three large tubs of brushes in water (that have been there too
long), four different plastic palettes, six different rolls of
tape, tubes of gouache, a box of charcoal, various boxes of stencils…
that's all I can see on the 'top layer' right now'.
Working in illustration since graduation from the Royal College
of Art at the tail end of the eighties, Deuchars now teaches there
and can count numerous working illustrators as former students
of hers over the last five or six years. She believes that getting
out and meeting clients is the best way to generate commissions
when first starting out, 'agents are not a good idea at first,
it is important to 'pound the boards' and meet and understand
one's own industry personally,' explains Deuchars, 'some of my
original contacts are people I still work with and have good relationship
with'.
Having picked up a Creative Futures Award, membership of the prestigious
Alliance Graphique International (AGI) as well as an enviable
client list; current ongoing projects include three book jacket
designs, a chair design for a company in Helsinki, colour studies
for the Cricket Building in Derby and fifteen portraits for Wallpaper
Magazine, Deuchars is in demand. She would, however, have it no
other way. 'I like making images, being paid for it is a bonus'.
Brett Ryder
Staring at album sleeves and painting motorcycle jackets started
Brett Ryder off…
'Getting a computer', admits Brett Ryder, was a career defining
moment after graduation from the MA programme at Central St Martins
in 1994. Ryder's eclectic approach to image making, a combination
of found images and ephemera collaged together with his own drawings
made the transition to digital an interesting one. Ryder has a
fervent interest in old motorcycles and rebuilds the manifold
on his BSA 650 with a dexterity that translates well in his use
of Photoshop to 'build' his images.
'I did loads of stuff as a kid' offers Ryder about his route into
illustration, 'I was the one everyone came to when they wanted
their favourite album or band painted on their leather jacket,
I even had my own airbrush. We did have some strange characters
turning up on our doorstep though'. Linked to that early career
move, Ryder talks a little about his dream project; 'I've always
dreamed of doing the Rolling Stones tour stuff, stage props, animations
for their videos, T shirts the whole deal'.
The fact is; music has always featured highly in Ryder's life.
His own name is a little rock and roll even, appearing as the
strange marriage of Shaun Ryder, of The Happy Mondays, and Brett
Andersen of Suede. 'Staring at album sleeves was once a full-time
occupation' he admits. Despite insisting that the once stylish
Roxy Music are his all-time favourite band, Ryder claims that
finding 'socks with no holes or if lucky a pair' is the right
start to a creative day. Working from a studio at home Ryder's
sartorial elegance is no match for his hero, Bryan Ferry, though,
'I can sit around all day in my pyjamas, and nobody is any the
wiser' he explains in a manner that could be best described as
tongue-in-cheek.
Ryder's work is cheeky, it retains a playful quirkyness, first
developed in his early student pieces, and combines the real with
the unreal, the literal with the imaginary. Ryder's illustrations
regularly greet readers of the daily broadsheets, The Observer,
The Guardian, The Independent and The Times. It is, perhaps, the
surreal nature of his images that work so well with journalism
published by the cream of Fleet Street. Despite the constant flow
of work, that includes projects for BP, Natwest and Penguin Books,
Ryder worries about his fate, 'the best thing about working as
an illustrator is that it is all I've wanted to do and it is all
I know' he states, 'the worst thing about being in illustration
is the knowing it is all I know'
James Jarvis
Existentialism meets a gang of plastic toy figures in the work
of James Jarvis
You either own a piece of work by James Jarvis or would like
to. Jarvis is best known for a range of plastic figures created
for Japanese fashion company, Silas. Completely collectable, these
lovable characters fetch silly money on eBay if you can find them;
the Silas Policeman was at £72.00 with still two days left to
bid recently! Not bad for a toy figure made from molded plastic
that stands no more than eight inches high. The complete range
of toy figures inhabit an imaginary world, the World of Pain,
and live by the rules that Jarvis, as their creator, sets out.
World of Pain existed as a web site and comic and the narrative
followed the lives of Steve, Rhonda, Lars, Keith, Evil Martin
and Bubba. Jarvis sees himself as an illustrator rather than a
toy designer though.
Studying illustration at Undergraduate level at The University
of Brighton before embarking upon a Masters course at The Royal
College of Art, Jarvis followed his own agenda. It was his very
first commission for cool London skateboard company, Slam City
Skates, creating their ads, that started the ball rolling into
an area of illustration that his RCA tutors knew very little about.
Now working in London for clients in Japan, where his work is
recognised and adored, Jarvis has been creating a huge body of
work for Toto, the country's national lottery company. The project
includes a range of posters, adverts and a new set of characters.
These folks differ from the Silas bunch, having strange hairy-headed
features rather than the large simplistic over-size Silas heads.
It may be a cultural difference, the Japanese have always created
and adopted cartoons and characters, but Jarvis is pretty big
in Japan.
The clean vector lines, perfection in World of Pain was always
strived for, have given way to a return to a more sketched feel
in his most recent work. Despite operating from a G4 Powerbook
Jarvis depends on basic materials for his creative starting point,
'pen and paper' says Jarvis setting out his requirements simply.
The fact that the hand of the creator is now more visible gives
the work a greater sense of familiarity; the characters look even
more charming.
Jarvis's has his own favourites when it comes to defining influences;
Herge, Tintin's creator, and New York based comic artist/painter/illustrator
Gary Panter sit alongside Sam Peckinpah and Popeye in his line-up
but with further investigation Jarvis cites 'modernism and existentialism'
as key influences too. With a brand new range of toy figures for
his company, Amos, launched earlier this year, it is clear that
although his belief that the universe may not have any intrinsic
meaning, the worlds that his plastic figures inhabit do.
© Lawrence Zeegen
