DAN AND HUW WOODOATS 2

After completing my Winter Beech etching series—my visual expression of winter—I began a new collection of seven etchings titled Dan and Huw, created as a response to the summer months.

The title honours Dan Pearson and Huw Morgan, whose extraordinary garden inspired the series. It was Huw who first introduced me to the ancient Japanese calendar of 72 micro-seasons—a framework that has shaped my practice ever since. Each micro-season lasts around five days, marking the most subtle shifts in nature. I’ve continued to use this calendar here in the UK, creating artworks that respond directly to what is seen and felt in the landscape at any given moment.

Their garden is a treasure trove of plant varieties, from rare specimens to heritage favourites. I could have drawn inspiration from countless species, but I selected these particular plants for their distinctive structural forms, which translate beautifully through my etching process.

Etching is one of the oldest and most revered forms of printmaking, with origins in 16th-century Germany and Italy. It was later embraced by masters such as Rembrandt, whose prints revealed the profound depth and subtlety the medium can achieve. The tradition has been passed down through generations, each artist interpreting it through their own sensibility.

In my own process, I use a photographic method to capture natural forms—branches, leaves, trees—and translate their silhouettes into etched plates. Each print is made on Hahnemühle paper, produced by a German mill renowned for its archival quality since 1584, ensuring the longevity of every piece.

This series is offered as limited editions of 25, never to be reprinted. Once they’re gone, they’re gone.

They are conceived as entry-point collector pieces: an accessible way to begin a meaningful collection of my work without committing to larger pieces. And because each print is pulled entirely by hand, every etching bears its own subtle individuality.