Illustrated by Brea Lanyon, 2021. 160 Pages of rendered sketches, concepts and finished artwork. Silver foiled matte cover, satin finish pages. Each book comes with a custom metal bookmark and is hand signed. Book size is 297mmx155mm
If Isolation (2020) was reflection and self-discovery, Renascence (2021) was focus and refinement. My style had solidified into a distinctive Neo-Nouveau language — flowing composition, structural balance, and the bold ornamental lines that would later define my steelwork.
I designed the book in a tall, half-A4 format to echo the verticality of my sleeve designs. At 160 pages with silver foil detailing, it became a purely visual portfolio — no captions, no explanations, just the work. Many of the designs were pre-drawn flash refined for clients, others were intricate custom pieces honed during the long, in-and-out Melbourne lockdowns.
This period was also one of unrestrained creative experimentation. Between tattoos, I:
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Painted a series of one-off skateboard decks.
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Released a streetwear jewellery range of hoops and necklaces.
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Designed downloadable tattoos for The Sims, bringing my linework into virtual spaces.
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Produced dozens of Copic paintings and pencil drawings.
When tattooing resumed, Renascence doubled as a working flash portfolio, reconnecting me with clients and filling my books with fresh, refined designs.
The Bookmark That Changed Everything
When I finished Renascence, I wanted to thank those who supported me through the uncertainty. A simple bookmark felt fitting — a quiet companion to the book. But I didn’t want it to be ordinary. I asked myself: How can I elevate this?
The answer was in my own linework. My bold ornamental style would translate perfectly into a laser-cut form. I designed the bookmark, had it cut, and when I held it in my hands for the first time, something shifted.
It was light, but it held.
It didn’t fade. It didn’t wash off. It was permanent.
In that moment, I saw the future of my work — steel.
That bookmark became the first VANTA object. The spark.
From there, I expanded the design into larger works: the Peacock Triptych, and eventually an entire body of steelwork. Renascence wasn’t just a book — it was the bridge between two mediums, and the catalyst for the brand I’ve built since.
