British-Finnish artist Alex Clayton has emerged as a distinctive voice in London's underground music scene, creating artwork that seamlessly blends visual art with club culture. His recognizable airbrushed figures and hand-painted designs have appeared everywhere from Ice Spice's screen visuals to limited edition T-shirts for Yung Lean, establishing him as a prolific figure whose work extends far beyond traditional gallery spaces.
On a recent Friday night at Corsica Studios in London, Clayton's unmistakable artwork greeted attendees at the entrance to TranceParty's weekender event. His road sign design, featuring his signature airbrushed figures, welcomed club-goers preparing for eight hours of music from artists including fakemink, EsDeeKid, Slimzee, and Evian Christ. The setting perfectly encapsulates Clayton's artistic philosophy of presenting work where art and music culture naturally collide.
Clayton's distinctive imagery has gained recognition across multiple platforms and mediums. His hand-painted T-shirts sell out almost instantly, while his artwork appears on album covers for artists like Bloody Shield and in various commercial applications. His characteristic figures—solitary characters locked in their own worlds or tangled together, often wielding swords or emerging from dense crowds with mischievous grins—have become instantly recognizable in underground music circles.
The artist's approach reflects a deep connection to London's music scene, which he describes as "infinitely more connected, friendly, passionate and willing to experiment" compared to traditional art circles. "Most of the people I meet and interact with come through music," Clayton explains. His practice deliberately blurs the lines between painting and sound, creating what he calls "a shared and more embodied experience for viewing or listening."
Clayton's artistic evolution has been marked by continuous experimentation across mediums. Starting with textiles and tufted rugs, he has expanded into angular forms on paper, figurative airbrushing, oil painting, and digital media. "When I started making art consistently, I felt that my skill level was nowhere close to where I wanted it to be," he reflects. "The concept of painting something very well was intimidating and cool to me from a young age."
His artistic breakthrough came during lockdown when his girlfriend taught him watercolor painting and drawing techniques. From that foundation, Clayton has continuously evolved his painting skills to "convey very particular things from my imagination." His influences range from 2000s internet culture and Flash games to Disney's "Fantasia," H.R. Giger, Final Fantasy's "Advent Children," and musician Bladee, whose visual approach in the 2010s Clayton credits as a significant influence.
The increasing complexity of Clayton's compositions reflects both internal and external responses to his environment. "The complex and loud compositional work came about very naturally," he says. "It was definitely a response to my inner and outer environment. I like these works because they feel especially alive and easy to read—however the viewer is feeling. They can be instantly visceral in a very distressing or pleasurable way."
Clayton's collaboration with Josh Leary and TranceParty began through Instagram, where Leary reached out after becoming aware of Clayton's work through mutual connections. The partnership has proven influential for both parties, with TranceParty's "all-encompassing, almost obliterating nature" providing inspiration for Clayton's complex visual pieces. "The visual nature of a TranceParty, whether it's the strobes or designs from David Rudnick, forms itself into a space that I very much align with thematically," Clayton explains.
Despite his success in music-adjacent spaces, Clayton acknowledges the challenges of breaking into London's traditional contemporary art scene. "I absolutely would love to have gallery shows and be in that world," he admits. "But over my whole time doing this, the doors have never really opened there—instead, they've opened everywhere else." He critiques what he sees as the commodification of young artists in traditional art spaces, expressing hope for genuine talent and boundary-pushing work to emerge in the coming decade.
Music's influence on Clayton's practice extends beyond mere collaboration into fundamental creative inspiration. "I love listening to music so much. There is an earth-shattering quality that you can find in a deeply personal and connected music experience," he says. "I would say that it's the most relevant art form too, if you just see art for art regardless of whether it's visual or audio."
Looking ahead, Clayton is focusing on his ACC000 Series, with the first 40 original hand-painted pieces already released. The project represents a significant evolution toward building a consistent brand, transitioning from exclusively original works to include printed series that remain affordable for his audience. "I can't beat the idea of making clothes that are affordable and that there are multiple of," Clayton explains. "I want those who are interested in what I do to know they can grab something off my site and it doesn't cost an arm and a leg to do so."
This new direction includes working with a team for the first time, marking what Clayton describes as "a much-needed evolution." The collaborative approach represents his commitment to making his art more accessible while maintaining the authentic connection to music culture that has defined his career. For Clayton, the intersection of visual art and music culture isn't just a creative choice—it's a natural expression of how contemporary art can engage with the communities and experiences that matter most to young audiences today.
