'Down the Rabid Hole'
Inkl. moms
£119.00
Storlek: 50 x 50 cm
Inramning: Black Wood
A chance to own a framed print by the Nkrth East England based Fine and Street Artist. Signed in the print, visit SKRYB's Facebook page or The Mark Gallery website at TheMark.uk if wanting to buy a signed, limited edition print.
- Acid- and lignin-free and made to last.
- The natural finish enhances vibrancy and depth.
- Textured matte surface that enhances depth without losing clarity.
- Handmade wooden frame from Italy.
Shipping usually takes 4-8 business days. If you have any questions about shipping, feel free to contact me through the contact form.
If your order arrives damaged, don’t worry. Just send me a clear photo of the damage, along with the barcode and the packaging, and I’ll arrange a free replacement right away.
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About the Artist
Born 1982, Worcester, I studied art and gained a BA(hons) at Newcastle University and an MA (Distinction) Fine Art at Northumbria University.
I have since continued to exhibit in group and solo exhibitions, with exhibitions across the UK and Europe, and collections held in the UK, Norway, Japan, Denmark, France and Brazil.
I am a contemporary painter based in North East England, working at the intersection of abstraction, figuration, and visual noise. My practice is rooted in the shifting surfaces of urban environments, places where marks are made, fade, and are replaced, reflecting the transient nature of experience as we move through towns and cities. I am interested in how these surfaces act as informal archives of human presence, constantly rewritten through time, weather, and interaction.
I build my paintings through layers of gesture, text, and fragmented imagery, drawing on the constant collision between what we see and what we think. Snatches of overheard conversation, fragments of news, and the persistent presence of social media all feed into the work. These influences are not directly illustrated but absorbed, processed, and reconfigured into a visual language that feels both familiar and unstable. I am particularly interested in how information is internalised and distorted, how meaning shifts depending on context, and how memory edits itself over time.
The act of walking plays a central role in my practice. Moving through towns and cities, I collect visual and sensory information, signage, graffiti, advertisements, discarded objects, and passing interactions. These moments accumulate and overlap, forming a dense mental landscape that informs the paintings. What is seen in a split second can resurface later in a different form, layered with other experiences and thoughts. The work becomes a space where these fragments coexist, often in tension with one another.
My process is intuitive and iterative, grounded in cycles of addition and erasure. I allow forms to emerge and then disrupt them, painting over, scraping back, and redrawing in order to create depth and complexity. This continual reworking mirrors the way thoughts evolve, where ideas are formed, challenged, and replaced. The surface of each painting holds traces of these decisions, revealing a history of making that is never fully resolved.
I am drawn to the balance between control and spontaneity. While certain compositional elements are considered, much of the work relies on instinct and responsiveness in the moment. Accidental marks, shifts in colour, or unexpected juxtapositions often lead the direction of the painting. This openness allows the work to remain active and unresolved, resisting a single fixed interpretation.
Ultimately, my paintings reflect the density and fragmentation of contemporary life. They sit between clarity and chaos, structure and disruption, inviting the viewer to navigate their own path through layered meaning. I am not seeking to present a definitive narrative, but to create a space where multiple readings can exist simultaneously, shaped by each viewer’s own experiences and memories.
I have since continued to exhibit in group and solo exhibitions, with exhibitions across the UK and Europe, and collections held in the UK, Norway, Japan, Denmark, France and Brazil.
I am a contemporary painter based in North East England, working at the intersection of abstraction, figuration, and visual noise. My practice is rooted in the shifting surfaces of urban environments, places where marks are made, fade, and are replaced, reflecting the transient nature of experience as we move through towns and cities. I am interested in how these surfaces act as informal archives of human presence, constantly rewritten through time, weather, and interaction.
I build my paintings through layers of gesture, text, and fragmented imagery, drawing on the constant collision between what we see and what we think. Snatches of overheard conversation, fragments of news, and the persistent presence of social media all feed into the work. These influences are not directly illustrated but absorbed, processed, and reconfigured into a visual language that feels both familiar and unstable. I am particularly interested in how information is internalised and distorted, how meaning shifts depending on context, and how memory edits itself over time.
The act of walking plays a central role in my practice. Moving through towns and cities, I collect visual and sensory information, signage, graffiti, advertisements, discarded objects, and passing interactions. These moments accumulate and overlap, forming a dense mental landscape that informs the paintings. What is seen in a split second can resurface later in a different form, layered with other experiences and thoughts. The work becomes a space where these fragments coexist, often in tension with one another.
My process is intuitive and iterative, grounded in cycles of addition and erasure. I allow forms to emerge and then disrupt them, painting over, scraping back, and redrawing in order to create depth and complexity. This continual reworking mirrors the way thoughts evolve, where ideas are formed, challenged, and replaced. The surface of each painting holds traces of these decisions, revealing a history of making that is never fully resolved.
I am drawn to the balance between control and spontaneity. While certain compositional elements are considered, much of the work relies on instinct and responsiveness in the moment. Accidental marks, shifts in colour, or unexpected juxtapositions often lead the direction of the painting. This openness allows the work to remain active and unresolved, resisting a single fixed interpretation.
Ultimately, my paintings reflect the density and fragmentation of contemporary life. They sit between clarity and chaos, structure and disruption, inviting the viewer to navigate their own path through layered meaning. I am not seeking to present a definitive narrative, but to create a space where multiple readings can exist simultaneously, shaped by each viewer’s own experiences and memories.