A guest on a previous spotlight, I'm proud to welcome crafter and cosplayer Janey Thomas back to discuss some of her latest accomplishments and upcoming projects.
Me: Hello, and thank you for returning to this! Since last we’ve spoke, you’ve been involved in numerous projects for your crafting, including a line of themed genre dolls. What can you tell us about these?
Janey Thoms: Thank you for having me back. When last we spoke, I was at the start of my journey as a UK-based horror artist. I’m a couple of years down the line, and things have got a life of their own. The dolls are developing into something bigger. Alongside homage pieces inspired by horror cinema, I now have original characters such as Wolfie, who’s my take on a werewolf; Toxic, the ultimate mean girl; and I’m working on one called imposter syndrome, because we all need to put a face to that brain monster.
I’ve also been doing commission pieces for scare actors, allowing them to own a physical version of their own character. These are incredibly rewarding projects, as I get to understand their characters from the inside out. The actors have been especially appreciative of the attention I give to the smallest costume and character details, and it’s hugely satisfying to bring those performances into a tangible, collectible form.
Whilst still creating my own take on a few one-off horror classics from my first doll, Selwyn from Braindead (aka Dead Alive in the USA), through to characters inspired by Terrifier, Hellraiser, and Texas Chainsaw Massacre 2. One particularly meaningful moment was having Bob Elmore see and express his love for my Bubba doll before his passing. These pieces are my love letters to the films that shaped me, made physical.
Me: What typically goes into the creation of each new creation? What makes the process rewarding when undertaking a new piece?
JT: Most pieces start the same way: with a sleepless night and my brain insisting, I really need this to exist. From there, research begins. Even with original characters, I dive into everything from animal anatomy to psychology—Imposter Syndrome, for example, involved researching what a cynical inner diagnosis might look like if it had a physical form.
From research, I move into sketching, and then into making—whether that’s a drawing, a doll, or a mask. The most rewarding part is the transformation: taking a feeling or an intrusive thought, pulling it out of my head, and turning it into something physical that others can see, touch, and connect with. It’s deeply therapeutic. I like to think of it as gently pulling my head demons out into the world, one at a time.
Me: Is there a difference between the creation of copyrighted characters versus original commissioned pieces you create?
JT: Absolutely. When tackling a character inspired by existing films, I approach them with a great deal of respect. I focus on identifying what makes the character recognisable to fans, while also asking what elements resonate with me personally. I’m always careful to ensure these pieces remain homages rather than replicas, celebrating the original actors and SFX artists who brought them to life.
An original character is the one who starts with a blank piece of paper, and you need to work out what their story is. Once you understand who they are—what motivates them, whether they’re joyful, angry, damaged, or mutated—the physical design follows naturally. A successful original piece tells its story through its very presence.
Me: Having worked on various aspects of construction, do you have any preference for working on any one in particular?
JT: That’s like asking which is your favourite child. It depends on the day, some days getting my hands on some sculpting clay feeds my soul, other days, it’s drawing a thousand dots that lets my brain settle and focus. Sometimes it’s getting to sit curled up sewing with some music on, or airbrushing, building up layers to create something magical.
So no I don’t have a favourite part of the construction but I have leant to accept in every piece you have to go through the artist cycle, where you have an idea, you start creating it, your not sure about it, you hate it, you warm to it, you start to like it, you absolutely love it, the you have to let it go. The cycle is unavoidable, but it's what makes it real. Every piece has had its own emotional journey before anyone gets to even see it.
Me: What would you consider your favorite part of the creation process? What part do you dread having to do?
JT: Let me turn this question around. What I dread most is the blank piece of paper, the moment before the idea materializes, and your sat there wondering if you can come up with something, and will that piece speak to people the way you want it to.
My favourite part has to be the love moment when you can see the personality in it, when it’s almost ready to start getting up and walking around at midnight, when no one’s watching.
Me: What did you go through in a typical day? What type of priorities and tasks do you go through to ensure a successful day?
JT: The thing that makes me love this life is there’s no such thing as typical; I may be setting up for a convention one day, sculpting another, adding to the website, doing an interview (with an old friend) taking about my passion, writing a book, filming videos, cosplaying, hosting at a horror con or taking photos of my pieces or doing all the admin.
This variety is what speaks to me. If every day were the same, I might as well have an office job. Creativity needs stimulation, and this life provides that in abundance.
Me: As well, you’ve also developed pointillism as a way to enhance your catalog of items. What led to this obscure means of art production to create horror works with it?
JT: I love pointillism; it’s the ultimate in hyperfocus. Hours of tiny, intentional dots slowly forming an image. It’s not something you can do if you aren’t passionate about what your drawings are; it’s not a quick 12-hour drawing, it's hour upon hour of focus on every tiny detail under the magnifying glass, from the weeds between the paving stones to hiding minute details in a larger structure. It’s a process I get lost in, become part of the piece with, and the viewer can get lost in there, too.
Me: What has been the most memorable or rewarding piece you’ve had to make since you opened this service?
JT: Since I started, I think the most rewarding piece was the cabin of the evil dead, it’s a technical drawing don’t the old school way with a drawing board, set squares, and a pen, that’s been rendered and detailed with pointillism technique. The piece was 134 hours of love for the Evil Dead films poured into one piece. It’s got hidden easter eggs for the die-hard fans, and it’s got tiny leaves and bark detail. For me, it’s a warm hug of comfort and a still mind every time I look at it.
Me: On top of this, you’re still a prominent member of the UK horror con scene. What has kept you going as an active part of this community?
JT: Oh, I love the horror community, we are one very happy family of beautiful freaks, that support each other and build each other up, something that is so important to me.
Horror lets you escape, it’s very much been built on a belief in strong women (Ripley, Nancy, Kirsty, Laurie) and you see that in the community, it’s a safe space where everyone’s treated with respect and love, even if ones a found footage fan and the others a slasher fan, horror brings out the best in everyone.
The horror community has helped me through breakups, career change and huge life changes. It's also given me the opportunity to host my heroes at Horrorcon UK, who have then inspired me to chase my dreams harder and shown me I can do it in a warm, loving, supportive way- something I didn’t see in engineering.
Me: What else are you working on that you'd like to share with our readers?
JT: I have a few things in the pipeline. I’m working on a rip face mask (with a removable face to reveal a secondary face) for scareCON in May, I’m creating a new horror cosplay, and I’m preparing to host one of the lovely guests at HorrorCon this year. Last year, I was blessed with hosting the Soska sisters. I have a couple of dolls in the works, some pointillism pieces.
Oh, and I’m writing my first horror novel. I’ve always got lots on the go, so I don’t get bored
Me: Lastly, being that this is our Women in Horror Movement, what special message do you have for any women out there looking to join in the industry in any capacity as you are one yourself? Thank you again for your time!
JT: Follow your heart. Horror was built for women.
Be your own final girl.
Beat the odds, no matter how many times you get knocked down, keep going, and if you need help, reach up; there's always someone in this wonderful community willing to lift you up.
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