Process and Work in Progress

This is where I post updates about work I’ve recently finished and new pieces of work I have in progress. As a printmaker, I hand-print multiple pieces of a work and create a limited edition (each piece is individually numbered and signed). These pieces can be reserved by purchasers as I work on them (as my editions often sell out as soon as they are completed). Reserving a piece does not mean you are obliged to buy it, simply that I will set one aside for you to decide on, before I make it publicly available for sale.

If you’d like to reserve or inquire about a piece you can contact me. If you’d like to be updated about new work you can email me with the subject line “Keep Me Updated” and I’ll let you know about new work (and also any upcoming workshops or exhibitions).

CURRENT WORK IN PROGRESS: a body of work studying tree forms. I have two underway. The first is a portrait of a pine tree under the Nor’West Arch in shades of grey. You can see the test print in the top left image.

The second is of a large stand of pines as you approach Porters Pass. If you’re interested in reserving a print from either of these editions, let me know (this means you’re under no obligation to buy it, just that I will set one aside for you to decide on before it is offered to the public).

MARCH LINOCUT: A linocut titled “Last Man Standing”. It is based on an old-man pine tree on Coaltrack Road that looks like it was once at the end of a stand of trees.

To me this picture seems to be a poem. Like any poem, it will make people think of different things. It makes me think of the passing of time, of loneliness, of the Canterbury landscape. It might make you think of generations past who planted these trees, of the men who felled them, of old age, of the sadness of trees gone, of resilience or of making space for new things.

FEBRUARY LINOCUT: Linocut of Nasturtiums and Parsley. This was my first time doing a proper jigsaw print (where pieces of lino are inked then intersected together) and as I also used the reduction method in parallel (where the lino is progressively carved away as layers of ink are added), this was quite ambitious to say the least. However, I wanted to use this method to keep the colours bright, the glass vase translucent, and the edges crisp. And it worked. I’m particularly pleased with the effect of the glass.

SKETCHBOOK: a few recent excerpts from my sketchbooks and printing experiments.

DECEMBER LINOCUT: “After the Storm” I loved watching this piece progress from a rough sketch on paper, through 7 layers of carving and printing, through challenges and breakthroughs, to the finished piece. It looks just as I’d hoped, capturing a moment when the late afternoon sun lit up the Canterbury landscape after a summer storm.