THE HEDGEROWS ARE WAKING UP

THE HEDGEROWS ARE WAKING UP

£2,800.00 GBP
Skip to product information
THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
  • THE HEDGEROWS ARE WAKING UP
THE HEDGEROWS ARE WAKING UP

THE HEDGEROWS ARE WAKING UP

SOLD

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
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°73

This work was repainted in April 2026, having first been made in spring 2025. Returning to it allowed the piece to come into closer alignment with the wider body of work as it now exists. As my practice has evolved, clearer rules have emerged around material, scale, and rhythm — particularly in how I work on Italian paper. Repainting it allowed the work to sit more coherently within this language, while remaining rooted in the original observation that depicts a section of hawthorn observed on one of my walks at the point where it had recently been coppiced. Coppicing is a traditional technique in which wood is cut and folded to encourage new growth, allowing the hedgerow to remain dense, resilient, and alive.


I painted it from the original photos I took in 2025 so it still is a symbol of that moment in time, and the hawthorn started to have its buds on ready for blossom. The scroll format also draws on traditions found in Asian art, where landscapes and seasons are revealed over time rather than at once. This approach mirrors the way the hawthorn was encountered — not as a single image, but as a slow, unfolding presence along the path.

Complementary Works