Your concept art is known for its blend of digital manipulation and cultural elements. Can you walk us through your creative process from ideation to execution?
I love footwear, and of course I’ve got my favourite silhouettes. I’ve worn Air Max and any kind of air bubble since I was 14 or 15 years old, it came natural to create art with the things I love. Most of my process involves me being fascinated by a shoe and then inspecting it, studying the textures, materials and form, becoming inspired by what it reminds me of or doesn’t, then thinking, “Wouldn’t it be cool if I could make something with this?”
At the very beginning of my career, the process was literally me taking photographs of my own shoe collection. I’d take them into Photoshop, do some digital sketches, and mash them all together. I’d mash it all together as a digital collage. I’m a perfectionist when it comes to digital manipulation, so I’d do my best to make the final artwork look like a real sculpture. It was quite an interesting journey because a lot of people thought what I was making wasn’t digital, but in fact a physical artwork.
That was kind of a happy accident because it led to commissions from fashion brands, to make physical sculptures, as they thought I was already doing that. So what started as just a bit of fun, taking photos and playing with Photoshop, actually led to me chopping up shoes and other streetwear and fashion apparel into physical sculptures.
The process has evolved, but the love and passion have remained the same. It’s really about me celebrating a shoe I like, putting my spin on it, and creating something with those textures and materials.
How has your approach to concept art evolved with the integration of AI tools in your work?
I am using AI but I’m using it to develop ideas. I’m just not a fan of its current end result. It’s not good enough for me to use as a final execution at the moment. I was actually using it this morning. I got into work early because I’m writing a bit of a passion film at the moment.
It’s called 30 Years of Neon, and it’s going to be a celebration of the Air Max 95, with it turning 30 next year. There were a couple of scenes in the film that I was trying to Photoshop, and I thought, “This is going to take too long.” So I dived into a bit of MidJourney, and it just helped me illustrate where I want to go with it.
The reality is, I’m still going to shoot it and get visual effects artists to collaborate with me to actually make it. So if anything, it’s been more of a development tool, it’s like a digital sketchbook that’s helping me work out ideas at the moment.
Where do you draw inspiration from when merging iconic cultural pieces such as sneakers and streetwear with your other futuristic design ideas?
I mean, that’s just me. I’ve got a day job where I’m a creative director, and that’s really about using my skill set to solve other people’s creative needs. They come to me with a brief, I solve it, and it has my take on it.
But when it comes to my art, I’m putting all of the real me into what I create. I guess it’s an accumulation of all the things I’ve loved since I was a kid. You’ll always see references from my ’90s youth in all my work, whether it’s music, cartoons, basketball, car culture. Music is obviously massive for me.
I’ve followed and loved every kind of electronic UK music evolution and subculture — from rave, dance, house, drum and bass, jungle, garage, grime. That’s always a common thread. Every time I think of those areas of music, I think about the shoes I was wearing at the time.
Really, my art is who I am. It’s the things I’ve been exposed to, the memories, and the stories I have in me, and I’m just telling them my way. I’m using new influences and mixing them with what I’m passionate about to create these pieces.
What was it like collaborating with LeBron James? How did you translate his vision and personality into the art you created for him?
Like I said, the day job stuff is really about solving briefs for other people. Obviously, I’ll always inject my personality, it will have my touch. All my work has a strong design aesthetic to it. So even if it’s a commercial with LeBron advertising a bicycle, it’s definitely going to have symmetrical compositions, graphic framings, and an edit that’s really graphic and abstract. That’s the FILFURY lil touch, I’ll always inject into my work.
That particular project came from a competitive pitch. In the real world, people only see the pitches I win, but I’m always pitching for work, some big, some small, but always creative, where I know I can add my spin to elevate the idea. When I do win a big one, like the LeBron job, it’s a big celebration because I’ve always wanted to work with LeBron. Like I was telling you before this interview, it was on my wish list to do a LeBron commercial.
What’s really interesting about that film, which a lot of people don’t realise, is that it had a heavy 3D visual effects component. We had the idea of telling LeBron’s story in a nostalgic way—looking back at his time as a kid and what riding a bike gave him, that sense of freedom. We had the idea of recreating his childhood home in Cleveland, but of course we couldn’t get access to the house.
So we actually created the house in Unreal Engine and projected it onto a screen behind him—it’s called an XR stage. We then seamlessly blended this digital wall with physical steps that he sat on. Under the low lighting, as the camera moved around, it tricks the eye because the wall moves in sync with the camera. It looks like he’s sitting in front of a real house, but that house didn’t exist—it was a digital execution.
What challenges did you face when working on a project of that scale, and how did you overcome them?
I think that particular project was all about planning. I’m a master planner. I never want to show up to a shoot without a solid, military-precision plan to follow, especially when working with A-list talent. You’ve got to be respectful of their time, ready to go when they are, and efficient with everything. They don’t want to be waiting around.
I’m very clear in how I communicate what’s needed, and we move through it. I’m not a director who just keeps rolling the camera and doing take after take for the sake of it. Once I’ve got what I need, I move on.
I’ve experienced the whole spectrum. I’ve worked with musicians who’ve shown up 11 hours late, which was super frustrating. I’ve also had shoots where someone didn’t show up at all. Then with LeBron, he actually arrived an hour early and wanted to start before we were scheduled to. That showed how professional he is, and I met him with the same level of respect.
How did that collaboration influence your approach to future projects, particularly in blending sports with culture and design?
Well, obviously, it feels pretty fucking good that I’ve worked with LeBron.
What’s funny is, during that particular pitch, I was actually on holiday. It was the first day of my holiday, and I told my producers, “Look, I really need a break, so don’t hit me up with any work or anything. Only hit me up if it’s Kanye or LeBron.” And then they said, “It’s LeBron.” I was like, “Fuck, now I’ve got to work on my holiday.”
On every job I learn something new, either about process, technology or myself. The LeBron film brought deeper knowledge of virtual production techniques, which I’d love to build upon and explore more.
But you know, I’m excited for the future. I’m super fucking ambitious, more hungry than ever. I don’t know what’s next, but hopefully, I’ll just keep pushing things forward, keep learning. I’ve done a lot of things, but there’s still so much for me to learn and lots of cool people to work with.
Streetwear has become a powerful cultural movement. How do you see its evolution impacting your future projects?
That’s what’s kind of funny. I just knew that I dressed differently from the friends I grew up with. It was maybe around 2006 when I was just starting out as a graphic designer, and I remember finding Hypebeast and Highsnobiety. I thought, “Oh, this is cool,” because it’s all the stuff I’m into in one place. That’s when I learned the term “Streetwear.” Before that, I just thought it was sportswear I guess.
There wasn’t really a term I understood to group it all together, but I’ve seen it change and different levels of enthusiasm for it. I’ve also felt frustrated with sneaker culture. I wear my shoes. If I love a shoe, I’ll buy two, you know? So when shoes come out and I can’t get them because they’ve already sold out, I’m not going to wait in line or anything.
There’s a limit to how much I’m prepared to spend on StockX, more than what the shoe is actually selling for, so that’s been annoying. But I also feel like it’s dipping down again now. Sometimes I get a little disappointed with the innovation behind everything, especially with shoes. I’m still buying retro Air Max because it’s what I like the look of. I say that, but I am actually wearing some DNs right now.
So to answer the question, as always streetwear will have an impact on my future projects as it’s something thats me. I cant see myself stopping wearing it any time soon… so it will continue to inspire me and be the apparel I wear daily whilst creating.
Streetwear has become a powerful cultural movement. How do you see its evolution impacting your future projects?
That’s what’s kind of funny. I just knew that I dressed differently from the friends I grew up with. It was maybe around 2006 when I was just starting out as a graphic designer, and I remember finding Hypebeast and Highsnobiety. I thought, “Oh, this is cool,” because it’s all the stuff I’m into in one place. That’s when I learned the term “Streetwear.” Before that, I just thought it was sportswear I guess.
There wasn’t really a term I understood to group it all together, but I’ve seen it change and different levels of enthusiasm for it. I’ve also felt frustrated with sneaker culture. I wear my shoes. If I love a shoe, I’ll buy two, you know? So when shoes come out and I can’t get them because they’ve already sold out, I’m not going to wait in line or anything.
There’s a limit to how much I’m prepared to spend on StockX, more than what the shoe is actually selling for, so that’s been annoying. But I also feel like it’s dipping down again now. Sometimes I get a little disappointed with the innovation behind everything, especially with shoes. I’m still buying retro Air Max because it’s what I like the look of. I say that, but I am actually wearing some DNs right now.
So to answer the question, as always streetwear will have an impact on my future projects as it’s something thats me. I cant see myself stopping wearing it any time soon… so it will continue to inspire me and be the apparel I wear daily whilst creating.
What are some of your favorite sneaker designs or streetwear pieces that have left a lasting impact on your creative journey?
I mean, like I said, it won’t be any special collaboration. It will just be classics. Obviously, I own the history of Air Max, and those are still my favourite. It’s a toss-up between the 95, the 90, and the TN. I’m talking about OG colorways, like infrared and neon/volt. These designs have had a massive impact on me as a creative and designer… not just the physical shapes and silhouettes but the color ways and color blocking. These design icons have shaped how I use colour in my own work, using accent colors to pop within artworks and films I create. Really the shoes I’ve been exposed to as I grew up taught me design and colour principles. Not to mention the advertising campaigns around these shoes and the logos and typography…
Technology is reshaping the art world in many ways. How do you see it influencing the future of concept art and your creativity?
Yeah, I think it’ll be a combination of AI and how that gets better and how I can incorporate it into my work more. I also think what’s really quick, cool, and powerful is 3D scanning. I use this app called Polycam.
It’s really accurate at scanning an object. I was literally scanning some shoes the other day and then taking them directly into 3D, and it’s a perfect scan of the shoe. I’ve got kids, and my 13-year-old was scanning shoes with it the other day also. I thought, “This is perfect,” because not in a million years did I have anything like this at 13 to get creative with.
So it’s that kind of stuff—making technology more accessible to people and seeing how quickly we can create big creative ideas.
Among the collaborations you’ve done, which ones stand out as personal favorites and why?
I don’t think I really actually have a favourite. I look on my pieces I’ve made as a little family, a group of art memories that remind me of my journey so far. I’m not good at celebrating my own work, I’m always ready for the next thing. I’m quite, what’s the word for it? Greedy, I guess that’s what I was saying. As in, once I’ve done something, I’m ready to move on and do something new. So it’s like I don’t really sit back and chill and think I’m done. I think, “What’s next?”
But saying all that – anything that got someone I love in it, especially something like a music video where I’ve cast one of my own kids to be in it, has to be high up the list of favorites…
The LeBron stuff is wicked. It’s out there; I always wanted to do it. But I was like, “Okay, what’s next?” I want to keep growing, improving, and challenging myself.
And that comes with the art. Like I was saying, I’m making this little passion project about a shoe that I love because I want to tell the story of one of my favourite Air Max that I know the brand wouldn’t tell itself. It’s a journey of the shoe and what it means to me through three decades of music evolution and how the Air Max 95 has stayed like a cultural icon in all these different scenes.
So that’s the thing, my favourite stuff is where I get to be creative and passionate about something I really care about.
Are there any dream collaborators or brands you’d love to work with in the future?
I’ve got a wish list of course… but I honestly think it’s more about the project type than actual brand or person. That said if Skepta or Kanye wanna hit me up I’m here of course. Actually hold on, I’d love to work with some British classics… Burberry and my all time favorite Maharishi – they would be dream collabs.
I want to continue to push all areas and disciplines of my work. I’d love to do more car commercials. I absolutely love working with cars. There was a time when I wanted to be the shoe guy, and then I made my first car commercial, which happened to be for Rolls-Royce as well, I kind of set my bar high there…
But I was like, “Fuck shoes, man. Cars are where it’s at.” It’s way more fun. When your riding in the pursuit car at 80mph shooting from a rotating camera rig its next level exhilarating! I love luxury vehicles, luxury products. I love really well-made things. I feel like my design sensibilities and level of craft and detail work well with products that match that same level of craft.
My skills aren’t just tools for me—they’re passions I’ve honed, and I know how to weave them together to tell a story or create a piece of art that pops off the screen. I can see opportunity in things, see where I can make something of nothing and inject my passion and creativity. I’ve had people come to me with low budgets, and I don’t think it’s about the money or the person. It’s about the idea. I know I’ve got a skill set that allows me to elevate ideas and bring things to life in a bold, graphic and sophisticated way.
Can you give us a sneak peek into any exciting upcoming projects you’re working on or new concepts you’re experimenting with?
Well, look, I’ve got this 3D printer in here that I’m really trying to get better at using. For years, I wanted to actually be able to produce my own little sculptures. The truth is, not even little sculptures—I wanna make big fucking massive sculptures.
I’ve been playing with this idea of these knife textured palm trees that I called “Paradiced.” I was driving my car here in LA looking above as the sun was shining and palm trees were sweeping by, and it’s beautiful sometimes, but it’s also really fucking hard here sometimes. It got me thinking about the cost of beauty—the beautiful and the brutal—here in LA, and that inspired this palm tree sculpture.
I’m dreaming about making this palm tree sculpture 50 feet high and having every colour available. Maybe someone in Dubai who’s building a penthouse needs 10 of them on their roof. Or I’ll fill an empty car park rooftop with them in the heart of a city… Do you know what I mean? I would love to push my art into more of the public space. I don’t just want to be selling a print; I don’t want to just be doing a collaboration that gets seen on TV or online and then it’s gone.
So, yeah, I would really like to create larger-than-life physical sculptures that people get to enjoy. My dream is to make art that connects with people, make them feel something – just like I’ve been inspired and shaped by the art I was exposed to along my journey.
