PRESS.
The work doesn't stay in the studio.
From Selfridges & Co installations to live exhibitions, commissions for The Script and BADR to charity partnerships // a documented record of where the practice has shown up and what it has done when it got there.
Manchester-made. Reaching further.
SELFRIDGES MANCHESTER // SS25 RESIDENCY.
Commissioned by Selfridges Manchester for their SS25 rotation around the theme of obsession // how it changes, and the beauty within it.
The response was a Murakami flower entwined with a cartoon rose. Old and new. Reverence and irreverence occupying the same form. A three-panel installation, 2m x 2m, built entirely in signature style and placed on the main floor and in menswear // between Ralph Lauren, Louis Vuitton, Off-White, and the KAWS and Bearbrick pieces Selfridges stocked directly.
Selfridges came back after the initial consultation and asked for more. Three additional die-cut pieces followed // two flowers with KAWS-influenced cartoon faces and a hummingbird, mounted within the store's own lighting fixtures, suspended in the air above the space.
The work ran for just under four months. People stopped. They photographed it. They tagged it. A bio and mission statement on the reverse ensured that anyone who looked closer understood exactly where it came from.
It was the right work, in the right room, at the right moment.
// HEADS GALLERY // SHOW X & SHOW XL.
Featured artist across two successive three-month rotations at Heads Gallery, exhibited within INNSiDE by Meliá, Deansgate // one of Manchester city centre's most prominent hospitality venues.
A dedicated wall. Name stencilled directly onto it. QR codes. Three pieces per rotation // a mix of the collaged sticker-bomb works and the more refined stencil pieces // shown to an audience that included hotel guests, business travellers, and the wider Manchester cultural scene passing through the centre of the city.
Two shows. Six pieces. Manchester, before Selfridges came calling.
LONDON INTERNATIONAL PASTE UP FESTIVAL.
Invited to participate in the London International Paste Up Festival // one of the most significant gatherings of paste up artists globally, bringing together names from across the international street art community onto the walls of London.
The work submitted was The Death of Liberty. A skeletal Statue of Liberty // made in direct response to the global political climate of 2026. Prevalent as ever. The image that was supposed to represent something permanent, reimagined as something that has already passed.
Pasted onto the streets of London and left there. Then brought back into the studio and finished to gallery standard // because the work demanded both existences. The street version and the one that endures.
Two versions of the same statement. Neither one softer than the other.
// STICKER MOVIE EXHIBITION // LONDON.
Invited to exhibit as part of the Sticker Movie exhibition // a two month show held at the Deli Theatre, central London, running alongside screenings of the documentary of the same name. Sticker Movie is a biographical film on sticker culture // the people behind it, the collaborative spirit of the street, and why it matters. It features some of the most recognised names in the global street art community.
The exhibition brought together London-based artists including Thisislostboy, Shallowlagoon, and Oldbones. The only Manchester-based artist in the room.
The invitation was not geographic. It was about the work.
EXPOSED // FIRST SOLO EXHIBITION // SAAN1 GALLERY.
The first solo exhibition. End of 2024, Northern Quarter, Manchester // ten pieces shown in Saan1 Gallery, an intimate but uncompromisingly professional space that suited the work exactly.
The pieces were raw. Early sticker-bomb work at its most dense, most colourful, most unresolved // alongside the first signs of the stencilling that would define what came next. No timber yet. No epoxy. Just the visual language in its purest form, on the wall, in public, for the first time.
Self-organised. Promoted independently. The turnout was not guaranteed and it came anyway // people huddled around the central piece, taking it in, staying longer than expected.
COMMISSIONS
& COLLABORATIONS.
The brief doesn't limit the work.
Commissions for musicians, athletes, brands and institutions // each one built to the same standard as everything else in the Vault. No shortcuts. No compromises on material or process.
Selected collaborations are documented below.
// PROJEKTS MANCHESTER // HINDERED VISION.
Commissioned directly by Projekts Manchester // one of the UK's most recognised independent skateboarding and streetwear institutions, and a venue that regularly hosts activations for global brands including Nike SB and Etnies. The brief was open. The response was Hindered Vision.
A 3m x 3m paste up mural built from collaged skateboard magazines, spray paint, and stencil // mounted on the column of a major overpass above the skate park. Strong white border, hard shadow, the scale and finish of a giant sticker on architecture. Visible from across the park. Present for every session, every event, every brand activation that has passed through since.
Alongside the mural, two workshop sessions were run on site // teaching sticker bombing and spray painting to over thirty young people each time. Drop-in. Open to all. The same visual language, handed directly to the next generation.
The work did not stop there.
In 2026, Hindered Vision becomes something larger. An international open call // run independently and in collaboration with Street Art Press, a globally recognised street art publication that amplified the call to its worldwide audience // invited artists from across South America, North America, Europe, and Asia to submit paste ups. Those submissions will be incorporated directly into the original mural, cut to the shape of the composition, replacing the worn skateboard magazine collage beneath. At distance, the piece will look as it always has. Up close, it will contain the work of artists from four continents // all held within the original frame.
The mural was always about carving your own path. Now it carries the marks of people doing exactly that, from every corner of the world.
VENOM RECORDING STUDIOS.
Approached directly by Venom Recording Studios to create their brand identity from the ground up. The logo // bold, architectural lettering with a hard white border — was built entirely from collage. Dense, layered, every inch filled. The same visual language as the street work, applied to a mark that now represents a professional music production facility.
The logo did not stay on paper. It was scaled up and pasted directly onto the studio wall // approximately 2m x 1m, collaged on site, permanent. Every artist, producer, and industry figure who walks into that studio walks past it.
Look closely enough and MF DOOM is in there.
// THE SCRIPT // SATELLITES
Commissioned as a gift for The Script, delivered to the band at their Manchester show coinciding with the launch of their Satellites album.
The brief was the album itself. The Satellites artwork // stark, black and white, three silhouetted figures on a striped horizon // was taken as the starting point and rebuilt entirely in signature style. Same aspect ratio. Same composition. The silhouettes stencilled onto the background, the horizon intact. But floating above it, cast in the sticker-bombed pop art language the original never had, the Script logo // raised, shadow-casting, vivid against the monochrome beneath. Subtle paint splashes across the background. Colour where there was none.
Delivered in a handmade frame, steel bracket mounted. One of one.
The last anyone heard, it shipped back to Ireland with the band.
KANE MOUSAH // BADR.
Kane Mousah // MMA coach and founder of BADR, Be A Dangerous Rival // approached directly after seeing the work at Heads Gallery, Manchester. Two commissions followed.
The first was the BADR logo. Each letter individually cut, sticker-bombed in the signature style // vivid, dense, and layered over a black background adorned with the BADR emblem. Three-dimensional card construction, entirely handmade. The full visual identity of a brand rebuilt as a physical artwork.
The handover did not happen quietly. The piece was delivered at a PFL pre-fight promotional event // face-offs, cameras, fighters including PFL's Lewis McGrillen present in the room. The work entered that world on its own terms.
The second commission was an early Manchester United print, acquired for Kane's son.
Two pieces. One collector. Found through a gallery wall in Manchester.
// SNEAK ENERGY // LIVE COMMISSION.
Sneak Energy // a fresh, fast-moving energy brand // wanted to know what the work could do in real time. The brief was a live demonstration at a warehouse event in central Manchester, dressed specifically for the occasion. Music, performers, workshops, sampling. Over a hundred people in the room.
Spray paint was the obvious choice. It was not the right one. Instead, a wooden board cut in advance to the exact shape of the Sneak Energy logo was brought to the space and filled // meticulously, in full view of the room // with the signature sticker-bomb treatment. Their logo, rebuilt from the ground up, in a style that took the entire event to complete.
The work earned its audience. People watched it happen.
The finished piece did not stay with Sneak. It went on to be displayed at the Sticker Movie exhibition in London // shown alongside established street artists at the Deli Theatre. A live commission that became a gallery piece. The same work, in two completely different rooms.
CIGARETTES & SCRATCHCARDS // POST APOCALYPSE.
A full creative partnership with Manchester-based artist Cigarettes & Scratchcards for their album Post Apocalypse // encompassing the primary brand identity, album artwork, and a limited merch drop distributed at events and gigs across the UK.
The artwork depicts a destroyed Manchester skyline in the aftermath. In the foreground, a child-scale figure stands between two objects // a flower on one side, and on the other an unplugged, cracked television set, its screen sticker-bombed with original designs, its reflection showing the world burning. The sun rises over the ruins in neon synthwave colour // a deliberate reference to the sonic world of the album itself. The figure stares at the television. Clinging to the old. Rejecting growth, health, the new. The set does not need to be plugged in to show what it shows.
The conceptual direction was entirely self-determined // reinterpreted through a signature style that is entirely its own.
The merch drop was built to match. A 3D printed cigarette box, magnetically sealed, custom packaged. Inside // a scratch card styled as a business card, branded stickers, and a bottle opener. An object as considered as the artwork it accompanied.
Limited quantities. Events only. Already gone.
// FIGHT NIGHT // ODDBALL FOUNDATION.
The Oddball Foundation supports testicular cancer awareness // a cause that does not always get the platform it deserves. A connection through one of the fighters brought an invitation to contribute to their Fight Night charity gala in Sheffield. Five hundred people. A boxing ring. A night built entirely around giving something back.
The piece was made specifically for the night. A pair of boxing gloves, sticker-bombed in signature style, hand-framed. The subject matter was not accidental // gloves that, by design, carry the shape of the thing being fought for. Before the fights began, every fighter in the ring signed it. The work went into the corner. So did the art.
It raised £1,025 on the night.
The right piece, for the right cause, in the right room. Built to be given away.
It started in a spare room. It has not stopped since.
//The work has moved through warehouses and department stores, skate parks and recording studios, gallery walls and the streets of London. Commissioned, gifted, auctioned, and pasted onto buildings.
The record above is not a destination. It is a foundation. What gets built on it from here is the only thing that matters.
If the practice interests you, the conversation is open.
Open The Conversation