LAUNCHING 27 MARCH | RHODES EDITION DROP SHOP

I first pixelated Nighthawks in 2020, breaking it down, rebuilding it, seeing what was really there. Or so I thought. But the colours felt like a guess, like describing a sunset you have never seen. Five years later, I flew to Chicago. Forty-eight hours in and out, straight to the Art Institute, just to stand in front of it and work out what the hell was actually going on.

And the colours? Did not behave. The diner’s glow was not just warm, it was strange. Too bright, like walking into a petrol station at 2am when you are half asleep and questioning your life choices. The darkness outside was deep green, brown, blue, bending under the neon. And the woman’s dress? Not just red. The red. The thing holding the whole scene together.

On the flight home, it was still there, burned into the dark window of the plane. Back in my studio, I pixelated it again, not to replicate it but to capture how it felt. The way it lingered. The way it stayed with me. I amped up the colours to match that after-vision, the version that existed not just on the canvas, but in my head.

After Hours takes Nighthawks apart, piece by piece. Six hundred and twenty colours, each meticulously selected, each assigned a word through Psycolourgy, my process of linking colour to language. Most of the words were scribbled down in real time in Chicago, while I tried to work out what exactly I was looking at.

The title, After Hours, is not just about the painting. It is about how I experienced it. That liminal space between night and morning, between company and isolation, between silence and the hum of the city. Where time slows. Where the world feels paused and weightless.

AFTER HOURS

Giclée with Screenprinted Varnish on Canson Rag Photographique 310gsm
Signed, Dated and Numbered in Pencil by the Artist
Hand-Torn Deckled Edge

Edition of 99
63 x 98 cm
£950 + P&P

Launching 27 March at 4 PM (GMT) through the RHODES Edition Drop Shop.