CHU
Since the early eighties, graffiti has been the biggest thing in his life. At one stage, there were around 200 graffiti artists (or writers, as they refer to one another) in his town which has a population of quarter of a million. Crews were getting larger, raves were getting larger. There were soon to be only 12 writers. At the same time an interest in printing was sparked off by finding a manual rotary duplicating machine in an unoccupied office where his father worked.

Designing and reproducing posters and flyers seemed like a natural tool for self-promotion, and future fund-raising. It also ensured that his tag would appear on up to 15,000 flyers for clubs in the midlands each and every month, for most of the nineties. The artwork accompanying this promotional litter would allow him to experiment with his typography, logo design, CGI modelling/ animation and readying artwork for print.

His largest inspirations have been the multi-disciplined and multiplicity produced by Stanley Mouse & Alton Kelley, decorative (nouveau) arts of Alphons Mucha that spawned alongside the lithographic printing explosion, finest lithographs and mathematically unsolvable conundrums of Maurits Escher and Ron Smith’s Judge Dredd, Vaughn Bodé’s ‘Poppy’ and Jamie Hewletts Tank.