For the Financial Times I wrote about one of my favourite paintings and how it relates to one of my favourite activities, housesitting other people’s beautiful homes. To read about the joys of house sitting, and of leaving again, click here.
For this piece for The Fence I asked my dad to cast his mind back 40-odd years to one of the many weird and chaotic occurrences of his special effects career that spanned the 1970s-2010s and was extremely (and almost exclusively) weird and chaotic. This is how he poisoned himself while making the prototypes for the original Spitting Image… CLICK HERE.
Illustration by Viz cartoonist Davie Jones.
I went lurking around London’s galleries writing down all the pretentious and ridiculous things I overheard there. Available in print only for The Fence.
You can subscribe to this brilliant magazine of undercover investigations, fiction and satire here. Think Private Eye but with short stories.
Piece about excellent initiative to auction excellent art (powered by Paddle 8 and Christies) by excellent women to raise money for vulnerable women’s charities in the UK.
Here I argue Banksy is becoming a legend (in the mythological sense of the word) with the help of other artists, while everyone from academics to grannies on Gogglebox try to unmask him. Poor old Banksy …
Piece for Flux Magazine on the figurative artist Harland Miller, represented by the White Cube, and his catalogue raisonné that is rumoured to be announced later this year:
My review of the amazing exhibition at The Last Tuesday Society of Austin Osman Spare’s (one of Alan Moore’s favourite artists) work for Creators — you can sit and have a tea or alchy drink and look some of the creepiest and most beautiful artwork on the planet. They’ll charge you £20 to go see Hockney or Picasso down the road, balls to that. This guy was compared to Michelangelo Buonarroti and Dürer and it’s free x x x