SKULLPTURES

Since 2012, Skullptures has reworked the visual language of mortality — a mirror held to a culture in collapse.

A collision of art, fashion, rebellion, and cultural memory, Skullptures turns the human skull into a contemporary relic: branded, crowned, bought, sold, and surrendered to time. What began in print evolved into illuminated and sculptural forms, becoming an ongoing body of work about power, decay, identity, and survival.

Across the series, the skull becomes more than symbol. It becomes a site of argument: between glamour and ruin, sovereignty and spectacle, English inheritance and imported mythology, public iconography and private mortality. Skullptures treats the image not as decoration, but as evidence — of what a culture worships, sells, and leaves behind.

THE ICONS

SOUP FOR BRAINS

Soup for Brains established the series as a defining work. It merges Warhol-era consumer gloss with the inevitability beneath it: the rot, the residue, the afterlife of mass culture.

The image presents a symbol of consumption already in decline — cracked, hollow, unforgettable. It sold out on release. Today, it stands as both edition and warning: a polished object built from the remains of a disposable age.

Its force lies in that double register: at once a love letter to Americana’s visual seduction and a forensic study of its collapse. The work borrows the language of mass culture only to expose what sits underneath it — appetite, repetition, entropy, and myth.

LONG LIVED THE QUEEN

Regal. Enduring. Mortal. Long Lived the Queen distils sovereignty into a single haunted image: splendour, ceremony, and inherited power held in suspension against time.

Beneath the iconography sits the quieter truth the work insists upon — that all rule is temporary, all crowns are borrowed, and memory outlasts authority. The edition became a site of reflection on legacy, national myth, and impermanence.

Within the wider Skullptures project, the work also opens a specifically British register: monarchy not as slogan, but as image system — layered with devotion, theatre, continuity, grief, and political meaning. It is this tension, between reverence and scrutiny, that gives the piece its staying power.

THE CYCLES

2012/13 — Genesis
When the mirror cracked. The first Skullptures tore the mask from modernity.

2015 — Fragmented Empire
Glory fades. Gold rusts. Power forgets itself.

2017/18 — Disrupted Identity
The death of narrative. Skulls as fractured selves — no past, no centre, no certainty.

2022 — Sovereign Collapse
The end of nations as image. The crown recedes into myth. The bones remain.

2026 — ROATH (Forthcoming)
From ruin, renewal: moss, butterflies, and the quiet survival of beauty.

Skullptures is not a collection.
It is an archive of collapse — and a study of how power survives as image.

For a fuller biography, exhibitions, and publications, visit the About page.

Swipe left for the original Genesis work — Soup for Brains »