FINLAY CRAMB

News

Some amazing things happening on Johnny Cash Project front, stay tuned for an announcement or two! I’ts been a fantastic project to be involved with and I was recently privileged to see some of my thoughts on it aired during Aaron Koblin's TED Talk! To watch me drawing my frame click HERE.


I just got done colouring the cover for the next ‘Faster Than Light’ anthology from Orang-Utan Comics! Working under some excellent linework from Daniel Bell, I also coloured his hair-raising story ‘The Man in Room 4’, which you can catch inside the anthology!


‘Evelyn Evelyn’ is here! Out from Dark Horse in late September, I worked on it for the amazing Cynthia Von Buhler! Cynthia’s artwork pefectly accompanies a dark and tragic tale as told by musicians Amanda Palmer & Jason Webley, with an insightful afterword from Neil Gaiman. I caught up with the Evelyns during a run of sold out shows in the Edinburgh Fringe - mesmerising!

All pieces are from a growing body of work, equal parts dark and hopeful, centred around sequential narratives and storytelling. Shows include ‘Sequential Skulls’ numbered, award winning ‘Further Tales of Innocence’ and ‘Further Tales of Experience’. As with life, these narratives continuously grow and change.

Final pieces are realised as museum quality Giclée prints on rag paper, framed in hand-made wood and glass.

Bio

Finlay Cramb is an award winning Scottish artist, traditionally trained in Printmaking with a 1st Class Hons Degree in Painting from ECA. His fine art prints have been featured in national press and he’s worked in fields as diverse as storyboard artist for Bafta nominated short film ‘The Island’, corporate branding and product design for ‘AICR’ international cancer charity and provided artwork for heavy metal band ‘Firebrand SuperRock’ as featured in ‘Metal Hammer’ and ‘Powerplay’ magazines, to name a few. Fin continues to exhibit his printwork and is currently enjoying fulfilling a lifetime ambition to work in the comic book industry.

Statement

I enjoy working with both text and image and I feel strongly that when they’re used in conjunction the sum is often more than its parts. I believe that art can be uniquely personal and deeply intimate – but most importantly be such without excluding the viewer. I like to approach my work with this in mind and often think of it in terms of a conversation, tone of voice and rhythms of speech. I’m enamoured with the idea that I have the opportunity not just to rant at, shock, lecture or push away a person viewing my work – but that I can engage them. Hushed tones in the dark, a few quiet words late at night and the chance that we feel the same way.

I take influence from a wide variety of sources but I am particularly interested in the works of Ian Hamilton-Finlay and William Blake.

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