D R A C U L A ' S C O A C H

Dracula’s Coach

A Journey Like No Other

Step into the world of Dracula with an exclusive opportunity to bring Dracula’s Coach to your next event! Inspired by the legendary tales of Bram Stoker, this intricately crafted coach is a perfect addition for special occasions, offering a unique blend of mystery, history, and Gothic charm.

An Experience Like No Other

Step into the world of Dracula

Introducing Dracula’s Coach, inspired by Bram Stoker’s iconic 1897 story, Dracula. Sip on a glass of Stoker Wines as you step inside the famous carriage that delivered Jonathan Harker to Castle Dracula. This unique experience and art installation is available for parties, festivals, and events. Please contact [email protected] for more information.

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W i t h s h a d o w s d e e p e n i n g , r e s e r v e y o u r s p o t …

$60 per Guest/ $15 for Club Members

Interested in making Dracula’s Coach the highlight of your next event? Fill out the form below to check availability, book services, or request more details. We’ll get back to you promptly to discuss your needs.

T h e A u t h o r

Abraham Stoker was born November 8, 1847 in Clontarf, Ireland. After surviving a mysterious 7-year illness as a child, he went on to graduate from Trinity College, and then became a Civil Servant at Dublin Castle. Bram later was hired to be the Theater Manager for the Lyceum Theater, owned by Henry Irving, the most famous actor of his day. In his spare time, Bram would go on to write 12 novels, as well as numerous short stories and articles. His best known novel, Dracula, was published in 1897. Although he never visited Romania, he did extensive research in the London and Whitby Libraries, where he found a lot of books from travelers who had visited the area, providing other novelists with specific details of the geography, culture, and superstitions. Most importantly, he learned of Prince Vlad Dracula lll, the Impaler, whose name was linked to the Devil, and also provided Bram with the appropriate backstory for his supernatural villain.

T h e I n s p i r a t i o n

The idyllic seaside fishing town of Whitby, UK, is setting to many chapters in Bram Stoker’s 1897 novel, Dracula. St. Mary’s Churchyard lies in the shadows of Whitby Abbey, one of England’s most haunted and atmospheric locations. Bram Stoker vacationed in Whitby and became fascinated by the folklore, particularly “The Phantom Carriage of Whitby.” When local sailors were buried in the Churchyard, the local villagers reported witnessing an apparition of four ghostly black horses pulling a large carriage hearse, which is said to return to the gravesides at night and takes recently buried bodies. A small group of mourners are seen to emerge, holding glowing fiery torches removing the deceased from their graves… The figure of a cloaked phantom would crack a whip and off the horses galloped at great speed, pulling the carriage with them, plummeting over the edge of the sea cliffs. Upon discovering Bram’s lost journals and notes over a hundred years after Dracula’s publication, his descendants are confident that the inspiration from Dracula’s Coach pulled by 4 horses came from this Whitby folklore.

A r t i s t S t a t e m e n t

My name is Darius Hulea and I graduated from the University of Art and Design Cluj-Napoca, Romania, Sculpture department. The whole activity is around a welding machine, a hammer, a pair of pliers and a lot of metal rods of different shapes and sizes. With these simple tools I start bending, knocking, positioning, and pointing thousands of pieces of wire side by side until they clump together to form the impression of a human or animal detail on the space. Analyzing all the ideas of the 20th century on the concept of “Drawing in space” I came to use the banal wire in the development of academic drawing, succeeding in outlining in historical fragments the spontaneous reflection of the contemporary vibe. I draw now 3D parts of the unknown (disappeared) history that awakens the public to anamneses of the past, of the Renaissance, of the academic study of form, in an industrial material that appears lightly shaped to the appearance of a hair.

Now each piece of wire imitates the pencil stroke left on the sheet of paper. The difference is that the paper becomes space and the pencil strokes become the envelope and imprint of the shape through parallel wires, overlapped and twisted in expansion of the form. I have given up compositional sketches on paper in favor of direct iron sketches thus challenging the creative ego to freedom of continuing or re-conceptualizing a fragment begun and abandoned.

The whole work wants to narrate the immediate impression of mythological fragments, rediscovered and reinterpreted, which can bring to the contemporary world the knowledge of the fictional creatures of myths, now restored in a hard material, iron.

For me Michelangelo becomes the artistic reference when we talk about the conception of nonfinito forms and the power to incorporate in the banality of the material, the sublime grandeur of the idea. Iron takes the role of stone, and the imprint of the new technologies tell of the agglutination of matter and the expansion of fictional creatures in space. In this artistic universe there is no draft or scrap. These infinite fragments, details, signs, and symbols become from sketches or three-dimensional sketches, vast sculptural works to a simple agglutination between them by welding.

Everything becomes understandable as soon as each viewer has the power to put the

imposed fragment into the incomplete puzzle of one’s subconscious. These three-dimensional drawings were born out of fables that prompted me to investigate the combination of reality and myth.

Individually we will solve another puzzle because each sketch is left to the conscience of everyone to continue drawing.