This section covers my work, including commercial, freelance, Salvation, Redemption, the Satanic Sluts, my films, still imagery, and more recently Ghoul Girls, and my published writings.

This section covers my work, including commercial, freelance, Salvation, Redemption, the Satanic Sluts, my films, still imagery, and more recently Ghoul Girls, and my published writings.

A bit of background – After I moved to London I started out working on magazines as a designer, then became an art director conceiving images for articles and covers, and finally ended up redesigning magazines overall, including SKIN TWO, or designing them from scratch if it was a new title. I also spent about a year and half working in Paris and redesigned the music magazine BEST and then spent a bizarre six months working on a new design for the leading French magazine ACTUEL.

I also conceived my own magazine, MOTIVE, which I developed in conjunction with one the UK’s main publishers. Then, after several people commented that, given the type of imagery I was creating, I should make my imagery move and make a film. I took their advice and made AXEL, an eight minute erotic dream sequence, with a soundtrack by the fabulous Daniel Dax.

I released AXEL on video (it did quite well) and decided to make another film, this time I chose an interpretation of the writings of St Theresa, a 16th Century Carmelite nun who claimed to have experienced ecstatic visions of Christ. My film, Visions of Ecstasy, was an interpretation of those visions. It was also deemed blasphemous, banned, and got me into a whole load of trouble (see censorship section)!

As a result I ended up moving away from commercial magazine design and into film, and, whilst my main aim was to make films, I somehow, for no reason and with no plan or even knowledge of the subject, formed a film distribution company, Redemption Films. I designed some sexy packaging and released Salon Kitty, Killer Nun and ’Tis Pity She’s a Whore, and my world changed forever.

When I formed Redemption in 1992, the world of horror and exploitation was regarded by the majority of people I met, and certainly by the mainstream film world, as the bottom of the barrel and almost one up from pornography. Certainly the UK censors had no time for horror films and regarded them as subversive and almost criminal. Indeed, many commercially made horror films were regularly seized by customs and the police and watching and sharing many films now regarded as classics was a criminal act in itself (see censorship section.

What this meant was that at the time I launched Redemption I had no real commercial competition as no one was interested in the films, including often the rights owners and producers, who could not understand when I requested masters in the films’ correct ratio and in its fullest version. To them, at this time, anything would do – why spend money on these films basically.
I did spend money. I tried to always get the full version in its correct ratio and the original trailer – this was before DVD as, aside from Laserdiscs which sometimes had some, extras were not really part of the film mix then. I also created very distinctive packaging which meant that Redemption’s titles were racked together as a section in stores, and because of the labels distinctive branding was within a year of its launch a major success commercially.

However, that success was at a price as we had a constant battle with the BBFC (the UK censors) which resulted in several court cases before, as the result of a challenge that we initiated regarding pornography, the head of the BBFC, James Ferman, resigned and UK censorship was finally relaxed. (See Censorship section)

What this all meant was that over the last twenty years or so I have created lots of images and brands around the company, including the Satanic Sluts, Ghoul Girls, Black Mass, Redemption TV, Triple Silence, Purgatory, The Redeemer, Rule Satannia, Nihilista, Jezebel, OBEY UK, Asphyxiation etc – a lot, though some more successful than others.

I’ll be adding to this section continually as I have to track down a lot of my earlier material as I’ve lost a lot over the years unfortunately, and a lot of the Redemption catalogue is in storage. So do keep checking back.