In the early 70s, a time when there was an ever increasing demand for “glamour” art, Chris was commissioned by the erotic magazine Men Only, a prestigious title similar in cutting-edge style to Playboy. This naturally meant painting women, something he had not yet done with any confidence. Nevertheless, this work for Men Only would later bring Chris considerable fame — and notoriety. The secret to the popularity of Chris’s glamour art style can probably be found in his successful blending of Fantasy elements with his depictions of female nudity, This can be seen in works like Fishgirl, Seduction and the Celtic Queen, which are now perceived as classics of the genre.

In the early nineties, the sudden resurgence in popularity of London’s fetish clubs and the number of magazines which sprang up to promote the scene lead for glamour subject to appear again in Chris’s work. Chris was creating new erotic art, with work appearing in a number of publications, including the German fetish magazine Marquis. “The priority in my glamour work has now shifted from being commissioned to depict nudity, to working on ideas that are sometimes rather humorous but must always be pleasant to the eye. The titles are also important : always view my pictures with the title in mind”.

“With the arrival of the nineties, I found myself harmonising my work and private life for the first time,” Chris says. “I endured a lot in the eighties and was now stronger, having acquired a lot of life experiences, some of which was bound to surface in my work. This became a time of great enjoyment for me. I found myself single again and there was no shortage of friends to go out with and enjoy the then blossoming London alternative club scene. The goth and fetish movements were at their best and most vibrant. There was a fantastic array of young beautiful people dressed in the most exotic and imaginative ways possible. A real ‘zoo’ of wonderful weirdoes creating an artist’s paradise of influences. As if this was not enough, the rave scene was also happening, and it was almost like going back to the sixties again. I was loving it all! Most influential were the beautiful and wonderful women I ran into who quickly became my friends. Before long these women were appearing in my paintings. Using models was quite a novelty for me, and it became an important part of my creative process, helping me to create powerful female images with a greater depth and beauty.”