4 inch squares

Three "Crashing Wave" squares

It all started earlier this year when I got my hands on a supply of square mounts, eight inches square with a four inch square aperture. They were a nice size, but I didn't have very many pieces on paper to suit them. Then I realised that some bigger pieces, which didn't quite work as a whole, would look great if they were cut up and the choicest parts presented in these mounts. It seemed to work especially well with pictures done in acrylic ink, with trees and waves being good subjects.

The Woolhampton Green People

 

Green Man; Green Lady
Acrylic ink on A3 Bockingford rough watercolor paper

Nearly 18 months ago, I posted some pencil sketches made of two carved faces from a local church, St Peter's in Upper Woolhampton. These pictures are based on those sketches.  The faces are Victorian (the church was rebuilt in 1857) and, with their surroundings of leaves, the gentleman's leafy moustache and the vegetation emerging from the lady's mouth, are in the green man tradition. I fancy that they might represent the local landowner and his wife.

Blazing Trees

Acrylic inks on watercolour paper, approx A4

This is from a photograph taken last autumn, near Milestones in Basingstoke.

Unframed

£50

Enchanted Woods

This tree - in ancient woodland on the Pendarves estate in Cornwall - looked as if it might be enchanted even before I gave it the stained glass treatment. The central tree uses very nearly every colour of acrylic ink that I own, and the stained glass is retricted to three watercolours - phthalo blue, permanent rose and quinacridone gold.

Return of the Stained Glass Trees (3 pictures)

Hollow Light
Approx 9 x 10 inches, acrylic ink and watercolour on bamboo paper

 ... and this time they're packing watercolour.

Heisenberg 1

The first in a possible series of Quantum Abstracts, this refers to the Heisenberg Uncertainty Principle, which states (in far more cmplicated terms), that you can't know everything about a particle, and that the better you can pin down one property, the more elusive a complementary property will be.

The numerial suffix does refer to the possibility of more attempts to represent the Uncertainty Principle as an art work. You see, I am really not sure if this does the trick...

Heisenberg 1
Acrylic on canvas with acylic inks, 9 x 12"

Magnolia

A splodgy acrylic ink sky with "hybrid acrylic" Molotow marker vegetation.