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Original Mark Davies piece based on Back To The Future .
Hand finished frame embellished with diamond dust.
Approximately 135 x 104.5.
What a set of films and what a car! I’ve created a few pieces to date on ‘Back To The Future’ and barely touched the surface but it always comes down to the car, THE car! As ‘Lost in Hollywood 2’ is the sequel to the first collection back in 2016 I wanted to link the first piece ‘OUTATIME’ to this new one and I have done that from the tunnel that featured in the background that really drew people in and captured their imagination. In the first piece you see the arse-end of the Delorean being worked on in Doc’s gritty workshop, in readiness for another journey through time, that time is now and it’s time to get ‘OUTAHERE’!
The difference with this piece is that it isn’t a scene that is driven by the detail in the foreground but instead focuses on the car in full view and full motion – just as it about to hit that critical 88MPH. With the lightning kicking off in the distance over the city there is something quite special about the car leaving everything behind. The composition is set so that you could quite easily simply be a bystander on the footpath just lucky enough to capture this dramatic sight. A few seconds later you’re stood there with just a spinning number plate and fire trails wondering if you really saw that.
Whilst creating this piece an earlier study involved focusing much more on the car and where the background became a subtle backdrop. I chose to rework it so it fitted better with the collection as a whole but what this meant is that the level of detail in and around the Delorean is insane as that was the challenge that I set myself. Even though the car is now reduced down in composition you can still clearly see the detail and that sense of drama and movement – something different for me as the cars tend to be static.
This was a technically challenging piece to put it politely, piecing together the tunnel with a new opening and cliff that framed it whilst also softening the scene. I always seek to inject a dramatic light source where possible and the detailing within the tunnel was the perfect platform for this. Personally, I am really pleased with the sky and the drama within it, but something was missing, spotted it?!
The way I see it, if you’re going to build a time machine into a car, why not do it with some style?