LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM

LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM

£2,800.00 GBP
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LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
  • LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM
LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM

LONDON PLANE TREES OUTSIDE THE BRITISH MUSEUM

Currently Available

2026, Sumi Ink on Italian Paper

Unframed Dimensions: 42cm x 150cm (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
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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

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

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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°101

Along Great Russell Street, home to the main entrance of the British Museum, a row of London plane trees lines the pavement. The London plane tree is in fact a hybrid, believed to have emerged in the 17th century from a cross between the American sycamore and the Oriental plane. Widely planted across London during the industrial era, it was selected for its resilience to smog-filled air; its bark naturally flakes away, shedding accumulated pollutants and enabling it to flourish in the harsh urban environment.

We are in those early moments of spring, and I noticed the first signs of the season appearing on the Plane Trees wintery branches — the beginnings of tiny leaves just starting to push through, and the larger, spherical seed heads, like delicate baubles, still hanging in place. These forms made their way into the painting, I wanted to capture the trees details of Winter remnants and Springs entrance. 

I had gone to the museum to see the Samurai exhibition at the British Museum — a phenomenal show. Asian art, as I’ve mentioned before, continues to shape my practice, not only through my use of sumi ink but also in its compositional language and forms.

This week’s piece takes the form of a scroll — a format I return to echoe a walk, this one being the walk along Great Russell Street, where the plane trees lead you towards the museum’s entrance, while also nodding to the scrolls I encountered in the exhibition.

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