Each print comes with it’s own certificate of authenticity signed by me. Only the finest materials were used to make this open edition print, which I have produced myself. Both the paper (Somerset Enhanced Velvet) and the inks (Epson UltraChrome Pro) are of archival quality, meaning the print could last up to 400 years.
I draw with Bic biros on raw linen canvas. To prepare the surface I lighten the canvas with a white oil paint wash. Once this is dry, I draw with the biro, as I would with pencil on paper. After the drawing is complete, it’s varnished (to fix the ink in place) and more white oil paint is used to add light and finalise the composition. The Bic ink is actually surprisingly versatile, in terms of its colour. If I want a blue tinge to the work I can smudge it, and a sepia tinge can be achieved by layering white oil paint over it. The paint interacts with the ink as it dries, changing the colour.
This is the second of the pieces inspired by our trip to the North Pennines, the first was Pennine Ruin. Very local to where we stayed in Nenthead (which I would highly recommend) was a relatively small pine wood, with extraordinarily closely packed trees. We immediately knew that a piece of artwork needed to be done, because the atmosphere was incredible, but what composition would be best?
We stayed for a very long time, trying to work it out, but when we looked up the solution became obvious. The view straight up created a drama that we hadn’t been able to create with other ideas and it also pays homage to the grace and grandeur of these wonderful trees. This composition is also very unusual in that it works both in landscape and portrait orientation.