About trees, climate crisis, and my latest commissions.

Trees. Aren’t they simply wonderful? Planting trees seems to be one of the ways to combat our climate crisis, and it is certainly the most eco-friendly solution. I would love to have a forest, to sit within it and watch it grow… growing a little oak tree in a pot, as I do, that is nice, but not quite enough. Lacking the funds to purchase land and plant it with trees, I was wondering what I could do, then I saw that Seagull Gallery, in Filey, had joined a tree-planting scheme called Just One Tree; so I joined and pledged to donate so that a tree will be planted for every painting I sell. I joined in November, and started by donating for every painting I had sold in 2020 and 2021. (I was so grateful that so many of you decided to buy one of my paintings during the first two years of the pandemic: 46 paintings. So if you did, thank you. A tree was planted for every painting you bought!). Here’s the link: https://www.justonetree.life/

I’ve been reading a fascinating book: Peter Wohlleben’s “The Hidden Life of Trees”. It is an interesting and easily read book, written by a German forester, which I would recommend to anyone who loves trees. Its relevance here is that, as you probably know, trees absorb carbon dioxide from the air and store it in their trunks. If the tree is burnt, the carbon is released, but if the wood is kept, the carbon stays captured; for example if the wood is made into the stretchers of a canvas! So if you have paintings stretched over a wooden frame, or of course anything else made out of wood, you are already helping the planet. (And if you want to know more about the idea of the “wood wide web”, do read “Entangled Life” by Merlin Sheldrake!) https://www.theguardian.com/books/2017/sep/13/hidden-life-of-trees-peter-wohlleben-review

Another way to combat the climate crisis is to diminish our energy consumption. That is easier said than done, but we must try. Using energy efficient machines and insulating our homes are a start. Shutting down polluting energy sources and adopting greener renewable energy is also part of the solution. In this context, I am delighted to have been commissioned to paint a series of artist’s impressions for Community Energy Vision documents being prepared by the CPRE. It feels good to be part of something good. Some people might remember the CPRE as ‘The Campaign to Protect Rural England’ – its previous name. It has worked for almost a century to support and promote the countryside. It is now called ‘the countryside charity’ and it is aware of our climate emergency. You can find more about it here: https://www.cpre.org.uk/about-us/who-we-are/our-vision/

The simple joy of ink and watercolour.
I’m really enjoying my latest commission. It combines my local landscape, environmental concerns and renewable energy, and has drawn me back into fine lines and watercolours.

Sometimes one hopes for a commission, and then three come at once. (But I’m not complaining!)
This does mean that I will be very busy until the end of March, which is nice.

Garden Chair II: Nasturtium Invasion

A black and white painting of a corner of my little garden. Nasturtium growing through and over a garden chair, near a low drystone wall.

I love nasturtium, its cheerful flowers in yellow, red and orange, its leaves and flowers that can be eaten in salads, its immature seeds that can be pickled as false capers, or left to drop on the ground so that the following Spring new plants will grow. A corner of my little garden in early Autumn…

I cannot remember painting exclusively in black and white. I usually start a painting in monochrome to establish the composition; I think of it as the structure, the bones of a painting, and therefore I like to use white over black. Often that underpainting is lost under the layers of colour, but in my last painting (Garden Chair: Rose, Tomato & Passiflora), I used transparent layers of oil colours so that the structure showed through. And so from that to this, a memory of Autumn as a response to the darkest and shortest days of the year.

a rose growing through a garden chair, with a tomato plant on the chair, and passiflora climbing up from below.

Thank you to all of you who bought one of my calendars (or more!). It has made a huge difference to me, as it has kept the wolf away from my door.

In case you forgot to order a copy, or you discover that no one bought you a calendar this year, I have 2 calendars left, and there are also a few copies at Wold Pottery gallery in Loftus, and at Inspired by gallery in Danby.
Thank you again for supporting an independent artist!

A4 Calendar. £12.50

Calendar update.

After a small delay, I now have calendars in stock, so I’m starting to post calendars to those who have reserved one (I’ll email or message to confirm when posted). If you would like to order one, please contact me. Thank you.

2022 wall calendar, A4, £12.50 each. Free UK delivery if you order in October!

Calendar 2022.

Some of you have asked me, so… yes!
I will publish a 2022 Calendar.
Last year was a strange year(!), my calendars were printed in November, and sold out by early December. I will get them (a bit) earlier this year (hopefully).
Please message/email/phone me to let me know if you’d like one (or more!) and I’ll reserve them and post them to you in October if you don’t live locally. Thank you.

2022 Calendar. A4 size. Portrait format, bound with a wire spiral. One page per month. £12.50 per calendar. Postage within the UK: Free if you order before the end of October! (after October: £2.50 for 1 or 2 calendars). Postage to the EU: £5.85 (+ fees, see below); to the USA: £8; to Australia: £9.85.

PostScript. 23 September. I have now decided on the images!

(this will be the back of the calendar)

NB. If you are in the EU. From recent experience, products from the UK may be subject to fees up to 40% of the declared value, to be paid by the recipient. I am really sorry about that. Obviously it wasn’t my idea to leave the EU. I can still send you one, of course, if you really want one, but be warned that, with postage and those extra fees, this will makes it an expensive calendar. Maybe an artist in your country publishes nice calendars… If you would really like one of mine, please contact me. Thank you.