DAPPLED LIGHT IN THE FOREST OF DEAN

DAPPLED LIGHT IN THE FOREST OF DEAN

£2,800.00 GBP
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DAPPLED LIGHT IN THE FOREST OF DEAN
  • DAPPLED LIGHT IN THE FOREST OF DEAN
  • DAPPLED LIGHT IN THE FOREST OF DEAN
  • DAPPLED LIGHT IN THE FOREST OF DEAN
  • DAPPLED LIGHT IN THE FOREST OF DEAN
  • DAPPLED LIGHT IN THE FOREST OF DEAN
DAPPLED LIGHT IN THE FOREST OF DEAN

DAPPLED LIGHT IN THE FOREST OF DEAN

Currently Available

2023, Sumi Ink on Italian Paper

Unframed Dimensions: 42cm x 160cm (16.5in x 59in)

Framed Dimensions: 48cm x 156cm (18.9in x 61.4in)

Original work, signed by the artist, accompanied by a certificate of authenticity, with the sale recorded in the artist’s archive.

PURCHASING OPTIONS:

Unframed: £2,800

Framed: £3,260 – presented in a bespoke, museum-quality frame
SHIPPING & TAXES

Shipping costs are calculated individually. A fully insured worldwide shipping quote can be provided upon enquiry once the artwork and delivery address are confirmed.

I offer fully insured worldwide shipping on all original artworks, using specialist fine art couriers to ensure safe, tracked delivery.

VAT & IMPORT DUTIES

I am not VAT registered, so VAT is not charged on purchases.
International orders may be subject to customs duties or import taxes, which vary by country.

FRAMED OR UNFRAMED SHIPPING OPTIONS

All artworks can be supplied framed, with museum-quality bespoke framing and secure crating for transport.

Certain works can also be shipped unframed if you prefer to use your own framer, or are shipping overseas and would like a more economical option. Unframed works are carefully packaged to archival standards and include professional framing guidance.
FRAMING

Unless stated otherwise, artworks are available unframed and can be purchased as such if you prefer to work with your own framer.

I also offer a bespoke framing service through Ro Frames, who take exceptional care in the handling and presentation of artworks. Using sustainable wood, museum-grade materials, UV-protective glazing, and conservation-standard, acid-free mounting techniques, each frame is crafted to preserve and enhance the work.

PAYMENT OPTIONS

To make collecting more accessible, I offer two ways to purchase artwork:

FULL PAYMENT
Payment in full secures the work and allows for prompt shipment.


INSTALMENTS
Monthly instalments can be arranged, with shipment following receipt of the final payment. A simple contract will be provided to protect both parties.

Please specify your preferred payment option when making your enquiry.

About the Work

I have been working weekly through my Journal de Bord series for several years—an ongoing practice rooted in real-time observation, much like a captain's log. This approach is inspired by the Japanese shichijni ko calendar, where each micro-season lasts only a few days. Nature is constantly changing, and I strive to capture those fleeting moments before they vanish.

This piece is part of my Journal de Bord series, shared with my catalogue subscribers each week. In this entry, I reflect on what I observed in nature, how the piece unfolded, and the specific moment that inspired the work. Below is the journal entry to go alongside this artwork.

Entrée n°13

Since visiting the Forest of Dean for my birthday in May, I knew I wanted to return and create a painting inspired by the landscape. Rather than wandering aimlessly through this 11,000-acre woodland, I followed the sculpture trail — a six-mile walk that passes through a variety of parts of the forest.

Lately, I haven’t been focusing on shadows, mainly because of the often overcast English weather, but I’ve been enjoying the challenge of more detailed work. Walking the sculpture trail kept me on the path, which provided the perfect surface for the tree shadows to fall. Despite the variety of trees, the shadows themselves felt remarkably similar.

I wanted to explore this sense of sameness and the meditative rhythm of walking the forest path. To do so, I created two stencils based on Beech leaves from the Forest of Dean — a shape that is also widely found in nature. This approach allowed me to work in a meditative way, repeating the leaf shape as the shadows repeated themselves along the path — yet, like the shadows, each one remained unique. I layered the stencils, rotating them with each pass so that only portions of the paper remained exposed, referencing the pockets of light that create dappled shade.

For the third week in a row, I used a scroll-like layout to reflect the walk itself. The smaller paper size helps break up the bulk of the imagery, which, despite its dark and shadowy forms, needed to feel light and ephemeral, capturing the movement and transience of the moment.

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