I really do dread the inevitable question "what do you do?"
for the explanation is far from simple.
I usually leave out how lucky I am to have always known that the path I would follow would be a creative one. And that with very few exceptions, every working day has been satisfying, enjoyable and, fortunately paid the bills.
The complication lies in my need for the exploration of the many side roads along that path. And again, I acknowledge my good fortune in being able to do so.
I left Art College for a career in advertising as an Art Director. One day a photographer I worked with mentioned he needed a model building for an album cover shoot. This was to be the beginning of my model making, set building, and special effects career.
Clients included Paul McCartney, 10cc, Smirnoff, JCB and Dupont. A favourite was Playdoh modelling for Hasbro, who also asked me to design and produce a sculpture for the 'Save the Children Festival of Trees' in London.' It auctioned for a record £15,000.
Part of series of 10 life size sculptures to illustrate moments frozen in pain for a pharmaceutical company. Also shown in a one man exhibition in Birmingham.
And now the age of the computer has provided even more diversions on that creative route, with film and photography. Also allowing me to break the myth, 'the camera never lies. I can now offer a full image retouching and enhancing service'
Combining these with travel, is now my main focus, although I still work on all aspects of advertising and design. Recently I was asked if I would like to carve a set of marrionetts. Sounded fun, so I said "yes". Perhaps you can now see why I so dread that "What do you do?" question.
The Hasbro 'Christmas Tree' for the Save the Children Festival of Trees. Actually took me three months to complete
Album cover for 10cc , built pre-computer, using the old cinema technique of lining up a miniature in front, and creating the effect all in the camera. As shown by a 'youthful' me looking through the front model. The album on the right is, Wings 'Back to the Egg'. All the perspective is built in to the set, even the floor boards are tapered. In this way, a wide angle shot is imitated without making the people on the outside appear larger than the 'main man'.
MIKE SHEPHERD IMAGES