This is the final illustration I have created for the Man Who Mistook His Wife For A Hat study, although I am planning on creating more illustrations from other studies in the book.

"While we were talking my attention was caught by the pictures on the walls. ‘Yes,’ Mrs P said, ‘he was a gifted painter as well as a singer. The School exhibited his pictures every year.’ I strolled past them curiously - they were in chronological order. All of his earlier work was naturalistic and realistic, with vivid mood and atmosphere, but finely detailed and concrete. Then, years later, they became less vivid, less concrete, less realistic and naturalistic; but far more abstract, even geometrical and cubist. Finally, in the last paintings, the canvas became nonsense, or nonsense to me - mere chaotic lines and blotches of paint … This wall of paintings was a tragic pathological exhibit, which belonged to neurology, not art."

The relevance to the objects on the right hand side of the frame relates to a previous study undertaken on the patient, where Sacks discovered that he had “difficulties with leftness”.

Later on in Sack’s first meeting with his patient, the doctor asked him to put his shoe back on after he had taken it off for a quick test. After a few minutes of leaving his shoe on the floor…

"…finally his gaze settled on his foot: ‘That is my shoe, yes?’ Did I mis-hear? Did he mis-see? ‘My eyes,’ he explained, and put a hand to his foot. ‘This is my shoe, no?’ ‘No it is not. That is your foot. There is your shoe.’ ‘Ah! I thought it was my foot.’ Was he joking? Was he mad? Was he blind? If this was one of his ‘strange mistakes’, it was the strangest mistake I had ever come across."

My next set of illustrations have been based on case studies from the Oliver Sacks book, The Man Who Mistook His Wife For A Hat. The book recounts various cases of neurological disorders experienced by the doctor and author.

This illustration is from the study of which the title of the book takes it’s name. A passage in the book describes the Sack’s first meeting with his patient:

"He faced me with his ears, I came to think, but not with his eyes. These, instead of looking, gazing, at me, ‘taking me in’, in the normal way, made sudden strange fixations - on my nose, on my right ear, down to my chin, up to my right eye - as if noting (even studying) these individual features, but not seeing my whole face, it’s changing expressions, ‘me’, as a whole."

Drawing of Llewyn Davis chasing a ginger cat down a street in New York, from the Coen Brother’s new film. 

Following on from the news of the flooding, I found an article expressing concern for the mental welfare of certain groups of people in the area - particularly farmers who’s produce had been destroyed by the weather. 

A couple more variations of the editorial piece I posted recently, about the Somerset flooding. 

This is my submission to this year’s Secret 7, for the Black Sabbath single - Age Of Reason. Unfortunately I wasn’t chosen to be in the exhibition, but I had a lot of fun with this project. Here’s the schpeil I submitted with the illustration:

There was one line that stuck with me from an interview with Sabbath about their new album. When creating it their producer, Rick Rubin, told them to forget everything they have learnt since their first album. So their debut album was a starting point for what was to become ‘13’. 

With that in mind I went back to their 1970 album to find a source of reference that I could use; I chose the old mill from it’s mystical album cover. The mill is in Mapledurham, near Reading. When I went to visit it the whole area was flooded, like a lot of places at the moment - this created a sense of absence between the mill and all of the surrounding trees. 

The faint circle at the top of the design is a reference to the opening of the song:

“Do you hear the thunder

Raging in the sky?

Premonition of

A shattered world that’s gonna die.”

Finally, the purple trees aim to reflect the lighting at their live performances, as well as a nod to the Master of Reality album cover.

Malaysia Airlines MH370

Here’s the result of the second editorial piece I have set myself, this time focusing on the tube strikes that have taken place in London recently.

I approached this one in the same way I did my crowd drawings of the Natural History Museum, and used the two colours from the Underground’s logo. Red and blue also being hot/cold, movement/still, full/empty. Y’know?

I’m setting myself a few editorial projects at the moment, and this is a draft of the first one. It regards the current flooding in Somerset, and how the local people are coping with their towns and villages being submerged. I have a few other versions of this illustration which I might upload at some point soon.