"Stoke Without : Inferno" is part one of a series of three. It is intended to be a comic strip presented on tiles. The first part "Inferno" looks into the decline of the ceramics industry in Stoke and in particular the former Spode factory. The next two parts "Purgatorio" and "Paradiso" will investigate the heritage of the industry and its potential for renewal and the larger socio economic implications this will have for the city as a whole. This project to this point has taken 18 months to complete, so including the research involved with the next two parts, this could take another 5 years in total to complete.

Drawing Panel 8 : Time Lapse (2014)

Drawing Panel 9 : "Intro / Outro to the Void" (2014)

"Drawing Panel 8" This video is a time lapse of the drawing one of the panels of the "Stoke Without" comic. It was designed to show the painstaking process that each of the panels requires to build up the individual elements and how the drawing technique works.

"Drawing Panel 9" This stop frame animation of the drawing of the final panel of part one, was intended to show more than the production process. The idea behind it is that the drawing spirals into the darkness of the kiln and then redraws itself. Eluding to the Neitzschean concept of "If you stare into the abyss, it stares into you". The image then undraws itself and leaves a clean page for regeneration, a reflection of the state of the site at the current time.

Stoke Without : Purgatory - Drawing Panel 7 (2015)

"Mug Decals" I did these decals as an experimental project after working on the BCB 2011. They are based on exhibits in the Biennial, mainly; Lawrence Epp's "Human Resources", "Indian pots" and Peter Lewis's "Spodeplug". This was the first time I had started to consider the relationship between my "Human Printing" drawing technique and moving it into ceramics. It is also one of the first examples of the transition between working with crosshatching and moving into a more pointilist style.

"Spode Panorama" I took this image just after the de-install of the BCB 2011 was complete. After seeing the transformation of the China Hall space from dereliction, to then having a major festival presented within it, to then this vast empty space. I tried to capture this entropy, by adjusting the lighting of the space to transition between light and dark.

"Exploded Tesseract" This was an experimental piece I did, during my time whilst I was investigating the notion of figurative / abstraction and micro / macro. The image itself if comprised of the net of a tesseract or hypercube.

"The Night's Darkest . . ." This piece was a commision for an Indian mental health charity. I tried to pull together a few different strings of my practice for this piece, whilst incorporating elements that the client had stipulated.

"Stafford Castle at Dawn" was a commision for a private client and drawn to his specifications. I tried to capture the castle at dawn to get the contrast between the ages of medival structure in black and white in contrast to the vibrant colours of the dawn breaking.

"Ostamachion Palimpsest"  was another in a series of images I produced that toyed with the idea of figurative and abstract and experimentation with geometry. The image is comprised of a series of geometric images by Archimedes superimposed on top of each other to create an image that is a palimpsest of itself.

"New Manchester"  was a piece commisioned by the ONE69A screen printing collective based in Islington Mill, Salford. I worked on the piece to a breif and included the notion of Tony Wilson, of Factory fame, as a way of other parts of Manchester now coming to the fore after years of being dominated by his presense.

"Causality" was my first major project post graduating from university. It was an attempt to create a conceptual comic book, that dispensed with any text and instead sought to create a visual narrative. Through the creation of 3 triptychs, presented in a grid of nine, I sought to make a series that read both sequentially, but all also horizontaly and vertically.

The piece is primarily concerned with the various illnesses that led to the death of members of my family, and uses microbiological images to create abstract forms that within the series, appear to evolve. The second strand of the narrative is the use of phsyco-sexual imagery, alluding to the creation of life within the narrative and exploring the philosophical notions of life and death exsisting within and equilibrium with each other.

"Fountain" was created as a counterpoint to the atmosphere of art, I had encountered throughout my time at university and since graduation. I had always felt that craft and skill should be at the for within the arts. Whilst respecting the works of Duchamp and the early conceptual artists, I felt that allot of the work I was seeing made in contemporary times, such as Damien Hurst. Were essentially vanity projects that garnered huge sums of money, whilst having little substance.

"Stoke Centenary" I created this piece as a response to the cenetnary of the federation of the six towns that comprise my home city of Stoke-on-Trent. These town being; Tunstall, Burslem, Hanley, Stoke, Fenton and Longton. All built around there respective crafts within the ceramics industry that made Stoke famous. Now in 2010 with the industry largely in decline, it was the first time that I began to think about how my own practice could be used in the regeneration of these skills, to benefit the larger area.

"Constrained Liquidity" was the first proposal I did for a public artwork, it was for the wrap that would cover the windows of the new J2 baths in Newcastle-under-Lyme. The idea behind the piece was that it would be a large scale representation of the surface of the swimming pool water, rendered in my cross hatch style presented over the windows of the building. However the application was unsuccessful.

"Binary Singularity" was created as part of the series in which I was exploring cosmological themes. This piece was based on the notion of when two black holes (singularities) get trapped within each others orbit they bend space time to such a degree it is completly warped. This was also a good oppurtunity for me to try something a bit more experimental with the cross hatch form of drawing I had been developing at the time.

"Safari / Safari : Live Illustration" was the culmination of all the research I had been doing into the relationship between the digital / analouge aspects of my practice to that point and was my final piece in my MA exhibition. This was the intial founding of what was to later become my "Human Printing" technique, after much refinement and contextual tweaking.

The idea behind the original "Safari" was to create a digital landscape, this was off the back of creating "Nottingham Panorama" which explored the decline of industry in a figurative manner. I sought to create a landscape within the digital framework of the Safari browser, utilising work I had also been doing in graphic novelisation and drawing upon the ongoing financial crisis, that was subsuming the Western capitalist system as I was producing the work as the main subject matter for the piece.

"OXJAM : Live Illustration Video" (2009)

OXJAM Nottingham - Live Illustration 2009. David Newey & Ben Mitchell (Music by Alex Burton AKA BLEX). Little blast from the past from the archives.

Posted by The Human Printer on Thursday, March 12, 2015

"OXJAM Live Illustration" was a collaboration between myself and "Doodlist" Ben Mitchell for a charity event at the Above Gallery. With the work that was produced sold after the live illustration at an auction. Ben and I's styles are vastly different, him producing large roaming pieces that are based on his unconcious contrast with my highly regulated and mechanical style, This proved to be a good meeting of minds however with me working into his drawings to provide tone and colour and in the final auction, our piece sold for the largest ammount.

"Untitled" was produced in response to Tom Godfrey's "Marbled Reams" project. The title of the project alludes to the idea of "Marble Dreams", and to a1950's aesthetic. The image produced would then be replicated onto a ream of paper and one edge marbled, in the tradition of old books. In response to the breif I decided to draw the fake lino woodwork, that lined my bathroom floor at the time.

"Nottingham Panorama" was drawn during my MA studies and was an attempt to explore themes of post industrial decline, that would later become a big theme within my work. The piece was drawn from a scaffolding rig 5 storeys up, looking out over Nottingham's post industrial landscape, particularily focusing on the Old Knows building. In the distance is a single chinmey pouting out smoke, giving a defiant two finger salute, as the sun sets.

"Pow-tray-t's : That's how you say portraits in Stoke" is the overarching title for a number of portraits I have undertaken over the years whether; commisions, presents or self portraits. These have often provided me an oppourtunity for me to try out and develop new techniques of drawing, outside of my larger scale projects and have also provided a vital breathing space between such larger works.