Nik Fiend has never been to art school and has, therefore, never been formally educated about the graphic specifics of creating art. Perhaps this lack of technical adaptation is why Nik's paintings and drawings are of paramount originality and expressive imagination. Says Nik, "My art is a sort of self discovery." 

Using oils, watercolours, paper collages, acrylics, indian ink, felt pens, airbrushes, ultra violet paints and anything else he can get his hands on, Nik experiments with colour and textures to create his mind-expanding masterpieces. The tools of Nik's work range from his hands to palette knives, matchsticks or simply blobbing paint tubes on a picture, "I like to challenge what is considered acceptable," Nik comments, "When I started to work with oils the first thing I read in an art book was 'Do not use black', so of course I ran out and got a load of black paint!" 

Neither Nik and Mrs Fiend's home nor studio walls are safe from Nik's creativity. Mrs Fiend recalls "Within 24 hours of getting back from our first tour in Japan (1985) I walked into our lounge bleary eyed with jet lag to be confronted by a 10 foot high mural of a psychedelic geisha girl! Everywhere we've ever lived has had at least one wall, if not entire rooms, covered in large paintings, maybe Nik thinks he's a caveman!"

(Due to size restrictions an album cover sometimes cannot feature the entire original artwork.)

The first Nik Fiend solo-exhibition -- which featured more than 25 original works of art, spanning the years 1982-90, and including titles such as "Dead Quiff in an Atmospheric Aquarium", "Land Of Milk And Honey", "Frontal Lobotomy" and "Mr. Tree" -- took place on January 19th 1990 at an unusual venue, a music club, Ground Zero, in Boston, Massachusetts, USA to widespread critical acclaim.

In response to the success of Nik's American exhibit, a second solo exhibition was organized at UK music venue, The Powerhaus, Islington, in London on July 23rd 1990. "Anything like art or poetry... has become the province of a certain clique of intellectuals who've taken it away from everybody else and said "You won't understand this, we're gonna put it in this gallery", so if you bring it here (music venue) it makes it relevant." - Joolz

"Also, because so many people are familiar with the fact  that I create all of the Alien Sex Fiend album covers, and these were basically music fans, exhibiting at a music venue seemed like a natural progression - and you can have a beer!" Nik continues, "In a way I do the same thing with my artwork that I do with Alien Sex Fiend, I like to challenge and extend the conventional ways of doing things." 

"The paintings remind me of the crazed illuminations you might find in the local psychiatric ward" - Deadline

Nik continued exploring the realms of computer art, examples of  which have been printed in the band's own magazines, the "Fiendzines", as well as on the cover of Alien Sex Fiend's 1997 ground breaking studio album "Nocturnal Emissions" and it's later "Special Edition" re-issue.

Whilst completing the cover art for the "Fiend At The Controls" collection, "The Best Of Alien Sex Fiend" CD in 2001 and the band's powerful long awaited recent studio album "Information Overload", Nik has been receiving a number of commissions and continues to produce artwork some of which can now be purchased via Alien Sex Fiend's online store.

By far, Nik Fiend must be commended for continually and consistently forging new frontiers through the uncompromising yet progressive nature of his band, Alien Sex Fiend, and for continuing his ideology breaking barriers in the art world through his individualistic approach to both creation and exhibition.

"These pieces could stand alone in any gallery" - Alternative Press 
 
Written by Chryste Hall