This is one of my favourite leaning hornbeams, but rather than focussing on the echoing angles of the trees looking down the line (as in Conduit), my attention was drawn to the ravaged remnant of a former tree, the stump in the foreground. The characteristic…
Continue reading Stumped
This beech tree – part of the row along the wood bank at Snelsmore Common that featured in Epic and Babes in the Wood – has an exceptional collection of burrs and galls on it (these are growths caused by stress such as physical damage…
Continue reading Reciprocate
A close-up on the fascinating whorls and twists at the base of an ancient sweet chestnut trunk. When I first started this tree project, I knew that it could be huge, and so I set a limit on it. I would only consider trees that…
Continue reading Coalesce
This drawing includes the same beech trees featured in Epic, in a wider landscape and in a warmer season. While there is still a dramatic air to the picture, it is softer and seems appropriate for a fairy tale. The foreground suggests, to me, the…
Continue reading Babes in the Wood – SOLD
This is the first in a new series of drawings focussing on the surface of a tree trunk. The full title was “The Devil is beyond the Detail” (as opposed to being in it), but I preferred the shorter version. The picture is based on…
Continue reading Beyond
16″ x 12″, ink on kaolin-coated board See https://www.amandabatesart.co.uk/2021/03/society-of-graphic-fine-art-open-exhibition/
16″ x 12″, Indian ink on kaolin-coated board See https://www.amandabatesart.co.uk/2021/03/society-of-graphic-fine-art-open-exhibition/
16″ x 12″, coloured inks on kaolin-coated board
Indian ink on kaolin-coated board, 12 x 16″ Ostensibly a picture of mature beech trees on a embankment within a wood, anthropomorphism imbues the trees with emotion and character. They could well be on stage, enacting a Shakespeare tragedy or performing Wagner – or they…
Continue reading Epic – SOLD
Pigment inks on kaolin-coated board, 11 x 14 inches. The row of hornbeams viewed through the crook of the end tree. I’ve used a palette based on secondary colours, which has an unearthly feel, echoing the odd angles and shapes thrown by the trees.