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The ‘skin’ covering the body is meant to imbue the sculpture with a sense of value of the thoughts within, perhaps under the protection of something higher. The incompleteness may also suggest the wear and deterioration with age. The hidden patterns within the ‘skin’ are a sepulcheric motif hinting that inside is concealed an artifact of value, even if just a symbolic one.
Like many sculptures in the “skin over lattice” series, Sepulcher too, has Jon Homewood Art hallmarks. The use of soda cans to create the skin is meant to be somewhat ironic. Soda cans are a representation of a modern multimillion dollar industry that sinks vast resources into designing said cans to give the impression of the value of the substances within, while in reality they are nothing more than a decorated container to hide a secret within.
The uncovered areas are also a reference to the harm caused by soft drinks, these small quantities of carefully packed liquid often packed with sugar and other artificial substances. Issues such as Alzheimer’s, depression, diabetes, even amputations have been linked to soft drinks consumed on a daily basis and designed to attract everyone from children upwards to this promise of a liquid treat while at the same time feeding their sugar or caffeine or alcohol addiction.
90 cm x 60 cm x 50 cm
STAINLESS STEEL and soda cans
Reflection is an early piece when the technique was being refined but also shows the testing of colour combinations which were completely unplanned. Many choices were white and silver which literally created a reflective surface but in itself allows reflection about the random abstraction of the colour mixing. Some see a fire work display, others lights in the rain, but that is the beauty of abstraction, personal interpretation.
90 cm x 160 cm
Nemesis was conceived as a commentary on mental health. The crouching withdrawn position of the figure is relatively self explanatory. However, as the piece was created it developed a new narrative, that of the harm done by canned drinks. Whether high in sugars, artificial additives, alcohol, caffeine and others many of these have seriously detrimental effects on the health, all, hidden in brightly coloured jewels of metal. Thus the areas of frame left uncovered are representative of the effects of these drinks, from Alzheimer’s and mental health issues, to diabetes, amputations and digestive issues.
100 cm x 70 cm x 50 cm
STAINLESS STEEL and soda cans
90 cm x 90 cm
STAINLESS STEEL and soda cans
This model is a quirky remnant of an earlier sculpture called Tin Soldier. The model itself was built to be an exact replica of the most common gun in existence, the gun placed in the hands of every freedom fighter, terrorist, child soldier, poacher, gun aficionado and any other human with a wish to kill. It is cheap, almost indestructible, easy enough for even a child to operate and available through the world. Nor bad for a design from The Soviet Union of 1947.
The model itself is strips of soda can woven lattice over a steel frame. Ironically soda cans are another item found everywhere throughout the world with little purpose other than to contain sugary or alcoholic beverages (amongst others) with potentially lethal outcomes and produced through habitat destruction of bauxite mines.Thus it is part of the Vanishing Nature series as it represents a tool in man’s arsenal of nature’s destruction whether it be by shooting bush meat, poaching, mining activities or simply garbage and waste.
This sculpture represents the skull of an Arabian oryx, intricately crafted from a woven lattice of soda can strips over a stainless steel wire frame. Part of the Vanishing Nature series, it serves as a haunting commentary on the exploitation of wildlife. The reflective metallic surface of the skull symbolizes the cold, mechanistic drive of consumerism and its impact on the natural world. The vibrant, multi-colored horns, contrasting sharply with the skull, symbolize the coveted status of these magnificent animals—prized and hunted as trophies. Their coloring highlights how, to some, their beauty and grandeur are reduced to mere decorative items. This artwork reminds us of the oryx’s decline, urging viewers to reconsider the value we place on nature before it vanishes entirely.
Tin Lizzie is a nine-foot sculpture of an endangered Blue Iguana, meticulously crafted from approximately 10,000 soda can ring pulls over a stainless steel frame. Its spines, made from salvaged mobile phone aerials, add a striking industrial touch. Taking 18 months to assemble entirely by hand, this piece is part of the *Vanishing Nature* series. It raises a provocative question: what if future species evolved as grotesque hybrids, merging with the waste we leave behind?
The use of ring pulls—a byproduct of consumer culture—to depict an endangered creature is no accident. It underscores the destructive relationship between resource extraction, big business, and habitat loss. This sculpture challenges viewers to reflect on our environmental impact and consider the grim possibility of a future dominated by mutated lifeforms. Tin Lizzie serves as a powerful reminder of the fragility of nature in the face of human exploitation.
This piece represents a jellyfish, specifically a Man-of-War, crafted as part of the Vanishing Nature series. The dome, made from intricate, hand-fashioned stainless steel chainmail, mimics the creature’s iconic translucent bell. Beneath it, the long, entangling tentacles—constructed from discarded computer cabling—trail downward, evoking the lethal fronds of this marine predator.
These synthetic tentacles symbolize the deadly fusion between nature and pollution, raising a chilling question: what if our continuous contamination of the oceans leads to a future where wildlife adapts to incorporate our waste? Could we be creating new, even more dangerous species?
This artwork explores the unsettling possibility of mutation, driven by human neglect and environmental destruction. It asks us to consider a future where these once-beautiful, deadly creatures, like the jellyfish, become grotesque hybrids—an amalgam of nature and man-made refuse. Through this fusion of natural form and technological debris, the piece highlights humanity’s destructive impact on marine ecosystems, compelling us to reflect on our responsibility toward preserving the ocean and its inhabitants.
The form, a once robust and thoughtful figure, now appears fragmented and fragile, as if nature itself has been stripped to its barest elements. The intricate weaving of the strips reflects the complex interconnections of ecosystems—now threatened and frayed. Each can was once a consumer good, representative of the mass production that fuels environmental degradation. Now, those same materials reconstitute a symbol of human thought, forcing viewers to confront the uncomfortable reality that our actions are causing irreversible damage to the Earth.
Through this piece, the artist captures a moment of deep introspection — will humanity continue down a path of exploitation, or will we begin to recognize the fragility of what remains? The Thinker stands as a testament to both our power to destroy and our potential to reflect, change, and protect what is vanishing from the natural world. The use of aluminum serves as a poignant reminder: the resources we take from nature may return in unexpected, and often unwanted, forms.
The hat began as as an exercise in trying to crest a wearable piece of art. The challenge was to make it light enough to be easily wearable. Previous versions were too heavy but this one achieved its aim. The colours are from Monster Orange and coffee cans in a modernistic and ironic twist.
DATE CREATED: 2019
58 CM X 17 CM
STAINLESS STEEL AND SODA CANS
A play on the Cinderella name, this is a full size sleeping female figure. The tighter weave allowed the material to “flow” over the wire frame and create a feminine form. The wild hair and the entire body coloration give a cheerful and at the same time, light-hearted peaceful look.
This was one the first pieces in the Hands series utilizing “skin over lattice” techniques. It has the crude appearance of a charcoal sketch, rapidly done yet capturing emotion within the form with minimal lines.
As an artist sculpting the human body will always be the greatest challenge, especially when working in non-traditional media. Unlike clay or similar media the process is not a material removal system. In fact it is the opposite. A wire frame is created which has to compensate for any covering that must later become the skin. Once a suitable pose is decided proportions are taken from life, but it still a matter of judgement as to the final product. A lattice of can strips is then woven over the frame, each strip being places and orientated separately to allow a flow of lines.
Coco Canel was designed as a seated piece and like Candarella uses thin strips to give as much definition as possible. The wild hair and earrings hint at a woman not of afraid to make a statement, hence the name.
Ares stands as a stark reflection of the cyclical nature of fashion and cultural identity, crafted from the remnants of consumer culture—strips of soda cans. With a nod to the rebellious punk movement of the 1980s, the metallic, Mohawk-inspired form reclaims the aesthetic of anarchic defiance. Yet, this is no mere reproduction of the past. The glinting materials, pieced together like ancient armor, echo even older civilizations, suggesting that rebellion and reinvention are as old as history itself.
The piece asks: What is the difference between the warrior and the punk? Both sought to defy the status quo in their respective eras, but their tools — whether sword or safety pin—are ultimately interchangeable. Through the delicate weaving of modern refuse, Ares blurs the line between the industrial waste of today and the cultural artifacts of yesterday. The punk look, once a shocking statement of nonconformity, becomes timeless here, a nod to both warriors of old and rebels of recent history.
As fashion continues to reinvent itself, Ares reflects how even the most disruptive movements, once dismissed as fleeting, are bound to resurface — just like these aluminum cans, which find new life in this creation.
This piece, Hades, crafted from woven strips of soda cans meticulously placed over a wire frame, evokes a raw energy that echoes the chaotic yet liberating spirit of the 1980s punk scene. The recycled materials, once symbols of consumerism, have been stripped of their original purpose and repurposed into a defiant artistic statement — a commentary on the ever-evolving nature of fashion. Much like the punk movement, which rejected societal norms and embraced individuality, this sculpture transforms the discarded into the iconic.
Hades stands as an homage to the cyclical nature of trends, where fashion constantly reinvents itself by borrowing from historical sources, cultural movements, or even through acts of appropriation. The red, white, and blue colors, reminiscent of patriotic symbolism, add another layer of meaning, hinting at how dominant cultures often appropriate countercultural symbols to neuter their subversive impact, commodifying rebellion. This tension is central to fashion’s history of borrowing from the margins only to later sanitize and popularize these same elements.
Reflecting Homewood’s 80s upbringing and deep reverence for punk and Sid Vicious, Hades channels the spirit of DIY culture that defined punk fashion—raw, edgy, and inherently anti-establishment. The use of discarded soda cans as material speaks to the irreverent repurposing of everyday objects, just as the punk scene transformed safety pins and leather jackets into fashion statements that disrupted traditional norms. Sid Vicious himself embodied this rebellion, rejecting convention and embracing an aggressive, chaotic style that became emblematic of the punk movement.
Through this sculpture, Hades becomes not just a static object but a living conversation about fashion’s relationship to history, rebellion, and cultural appropriation. It questions who has the right to define what is “fashionable” and whose stories are being told — and stolen — through clothing, all while tipping its hat to the raw ethos of punk that shaped your worldview.
The artwork titled Zeus is a striking example of Jon Homewood’s innovative sculptural technique, utilizing woven strips of soda cans layered over a wire frame to create an evocative and powerful form. This bust, with its regal and somewhat imposing silhouette, echoes the grandeur of classical Greek statues, symbolizing power and divinity. The use of soda cans, however, introduces a contemporary twist that challenges traditional notions of sculpture and material.
In Zeus, the choice of recycled materials like soda cans juxtaposed with the classical figure of the god serves as a commentary on how fashion and identity are in constant flux. Just as fashion trends recycle and rework historical elements, Homewood’s use of discarded cans to create a figure of authority reflects how modern culture repurposes and reclaims the past. The red crest, reminiscent of a Roman centurion helmet, evokes notions of historical power and military fashion, yet it is made from the most mundane, contemporary materials — soft drink packaging. This speaks to how fashion is both a reflection of cultural heritage and a canvas for innovation.
Furthermore, the piece opens a dialogue on cultural appropriation. The appropriation of historical and cultural symbols, as seen in fashion and art, mirrors how societies take from one another’s visual and cultural lexicons, often without full understanding or respect. By creating a figure as universally revered as Zeus using discarded materials from everyday life, Homewood may be commenting on how cultural symbols are diluted or commodified in modern society, much like how soda cans are mass-produced and ultimately thrown away.
This fusion of classical forms and repurposed modern materials symbolizes the cyclical nature of trends, identity, and the ways in which cultures borrow and recontextualize elements from each other, for better or for worse. Zeus stands as both a powerful god and a reflection of contemporary society’s tendency to remake and reinvent the old using the new.
A piece from the “skin over lattice” series. It has the crude appearance of a charcoal sketch, rapidly done yet capturing emotion within the form with minimal lines.
A beautiful sunrise. A reminiscence back to my youth of watching the dawn while on a beach after after a hard night’s clubbing. As the alcohol wears off and the light brightens it is the perfect end to the night. Of course the name has to reflect the cocktail that defined the night and the piece being a mixture of beverages.
60 cm x 80 cm
80 cm x 160 cm
Inspired by the wildfires that have swept the world in recent years this piece uses colours akin to flame and heat. Again there is a hint of irony in its creation as shiny metal such as discarded soda cans are often accused of causing such conflagrations, thus showing the double edge of man’s disrespect for the environment.
80 cm x 160 cm
80 cm x 80 cm
The Ghost is the result of the use of a particular type of can, that seems to change colour and even disappear in certain lights. Thus, like a ghost the viewing can be ephemeral and fleeting.
80 cm x 80 cm
The fragments of soda cans, once ordinary and disposable, now form a stunning visual metaphor. Their metallic surfaces reflect light in unpredictable ways, adding movement and depth to the artwork. The can strips, with their printed logos and vibrant colors, reveal hints of past consumption, symbolizing human impact on nature. In this winter scene, there is an inherent contrast between the serenity of the natural world and the traces of industrial society, subtly woven into every detail.
Through this transformation of discarded material into an ethereal winter landscape, the artist invites contemplation on the intersection of environmental preservation and consumerism. What was once waste has been repurposed into something both beautiful and meaningful, reminding us of the potential for renewal in unexpected places.
80 cm x 80 cm
The randomness of the crisscrossing pieces mimics the chaotic yet harmonious patterns of nature, where no two elements are exactly the same, yet all work together to create a unified whole. The texture and layering give depth, hinting at the warmth of the season, with its bustling life, buzzing insects, and the soft breeze that seems to weave through the grass and flowers.
The recycled material gives the artwork a message of renewal and transformation, mirroring the cycle of summer—where life is in full bloom, yet always on the verge of change.
80 cm x 80 cm
By using soda cans, a material often discarded after brief use, the artist highlights the contrast between the transient nature of modern consumption and the timeless cycle of nature’s renewal.
The shimmering metal reflects light in unique ways, enhancing the feeling of movement, as if a gentle breeze were causing the petals to dance across the canvas. This piece is a poignant reminder of the beauty found in both nature and everyday objects, combining sustainability with cultural symbolism to celebrate the arrival of spring in Japan.
80 cm x 80 cm
191 cm x 191 cm
The work invites viewers to see beyond the surface of consumerism, where discarded materials are given new life in this reflective tapestry. Every strip, once part of a utilitarian object, now serves a deeper narrative of renewal, much like the way autumn clears the land for winter, yet offers fleeting moments of stunning beauty. Each woven piece, intertwined in the work, mirrors the complexity of nature — leaves falling, lights fading, and the crisp bite of autumn air that Japan’s countryside so famously offers.
The use of aluminum, a modern, industrial material, contrasts with the organic inspiration, blending tradition with contemporary craft. It’s as though the artist has encapsulated the drink “Autumn Apple Bourbon Fizz” — an embodiment of warmth, spice, and layered flavors — into visual form. You can almost taste the mixture of fall fruits, feel the fizzing energy of carbonation, and savor the comfort of bourbon, all while immersed in this vivid scene. As with autumn in Japan, this piece suggests a temporary beauty, caught in a moment that will soon pass, yet forever immortalized in metal.
80 cm x 160 cm
A beautiful sunrise. A reminiscence back to my youth of watching the dawn while on a beach after after a hard night’s clubbing. As the alcohol wears off and the light brightens it is the perfect end to the night. Of course the name has to reflect the cocktail that defined the night and the piece being a mixture of beverages.
90 cm x 120 cm
Stainless steel and soda cans
Reflection is an early piece when the technique was being refined but also shows the testing of colour combinations which were completely unplanned. Many choices were white and silver which literally created a reflective surface but in itself allows reflection about the random abstraction of the colour mixing. Some see a fire work display, others lights in the rain, but that is the beauty of abstraction, personal interpretation.
80 cm x 140 cm
In Singapore there is an annual festival when brightly coloured sculptures are created out of silk and wire and then lit from inside to glow with bright colours. Children also carry small lanterns of the same material and the effect is that of many twinkling lights. However, being the tropics, daily rain is the norm and once it slows the reflections of the lanterns in the rain washed streets blur into even random spots of bright colour, much like this piece.
90 cm x 191 cm
Stainless steel and soda cans
Inspired by the wildfires that have swept the world in recent years this piece uses colours akin to flame and heat. Again there is a hint of irony in its creation as shiny metal such as discarded soda cans are often accused of causing such conflagrations, thus showing the double edge of man’s disrespect for the environment.
90 cm x 191 cm
Stainless steel and soda cans
90 cm x 90 cm
Stainless steel and soda cans
The Ghost is the result of the use of a particular type of can, that seems to change colour and even disappear in certain lights. Thus, like a ghost the viewing can be ephemeral and fleeting.
90 cm x 90 cm
Stainless steel and soda cans
The fragments of soda cans, once ordinary and disposable, now form a stunning visual metaphor. Their metallic surfaces reflect light in unpredictable ways, adding movement and depth to the artwork. The can strips, with their printed logos and vibrant colors, reveal hints of past consumption, symbolizing human impact on nature. In this winter scene, there is an inherent contrast between the serenity of the natural world and the traces of industrial society, subtly woven into every detail.
Through this transformation of discarded material into an ethereal winter landscape, the artist invites contemplation on the intersection of environmental preservation and consumerism. What was once waste has been repurposed into something both beautiful and meaningful, reminding us of the potential for renewal in unexpected places.
90 cm x 90 cm
Stainless steel and soda cans
The randomness of the crisscrossing pieces mimics the chaotic yet harmonious patterns of nature, where no two elements are exactly the same, yet all work together to create a unified whole. The texture and layering give depth, hinting at the warmth of the season, with its bustling life, buzzing insects, and the soft breeze that seems to weave through the grass and flowers.
The recycled material gives the artwork a message of renewal and transformation, mirroring the cycle of summer—where life is in full bloom, yet always on the verge of change.
90 cm x 90 cm
Stainless steel and soda cans
By using soda cans, a material often discarded after brief use, the artist highlights the contrast between the transient nature of modern consumption and the timeless cycle of nature’s renewal.
The shimmering metal reflects light in unique ways, enhancing the feeling of movement, as if a gentle breeze were causing the petals to dance across the canvas. This piece is a poignant reminder of the beauty found in both nature and everyday objects, combining sustainability with cultural symbolism to celebrate the arrival of spring in Japan.
90 cm x 90 cm
Stainless steel and soda cans
191 cm x 191 cm
Stainless steel and soda cans
The work invites viewers to see beyond the surface of consumerism, where discarded materials are given new life in this reflective tapestry. Every strip, once part of a utilitarian object, now serves a deeper narrative of renewal, much like the way autumn clears the land for winter, yet offers fleeting moments of stunning beauty. Each woven piece, intertwined in the work, mirrors the complexity of nature — leaves falling, lights fading, and the crisp bite of autumn air that Japan’s countryside so famously offers.
The use of aluminum, a modern, industrial material, contrasts with the organic inspiration, blending tradition with contemporary craft. It’s as though the artist has encapsulated the drink “Autumn Apple Bourbon Fizz” — an embodiment of warmth, spice, and layered flavors — into visual form. You can almost taste the mixture of fall fruits, feel the fizzing energy of carbonation, and savor the comfort of bourbon, all while immersed in this vivid scene. As with autumn in Japan, this piece suggests a temporary beauty, caught in a moment that will soon pass, yet forever immortalized in metal.
90 cm x 191 cm
Stainless steel and soda cans
This piece is from the “skin over lattice” series. It has the crude appearance of a charcoal sketch, rapidly done yet capturing emotion within the form with minimal lines.This piece is from the “skin over lattice” series.
Date created: 2019
Dimensions: 30cm x 15cm x 15 cm
Medium: Stainless steel and soda cans
Price: FOR SALE
