High path
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964, when I was born, it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
30in x 41in / 77cm x 103cm
33in x 45in / 85cm x 115cm framed
£2,350 from
Kevis House Gallery
Receding light
I was lucky enough to be wandering in Petworth Park and catch this winter late afternoon sunset
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£995 from Kevis House Gallery Petworth
Antarctica: solid but sliding
Katabatic winds whip up waves and push icebergs around as we sail past the Antarctic. The names of wildlife species I saw on the journey are written into the background of the watercolour along with sketches of cape petrels that followed our ship and a map of the Antarctic Peninsula. Sadly and shamefully the average temperatures at the Peninsula are 6C higher now than in 1950
Ink, charcoal and watercolour on board framed in FSC wood
Image: 34cm x 24cm
Frame: 41cm x 30cm
£695 contact me
here
Antarctica: cold but warm
A view of the becalmed bay near Port Lockroy, inspired by my trip to the frozen Antarctic Peninsula in 2017. A page from my sketchbook while I was there is included, as well as species I saw are written into the background of the painting. To me it felt so cold when I was sketching. I wore two pairs of gloves and took one off to scribble in fingerless cycling gloves, but could only manage a couple of minutes before I had to put both layers back on because of the cold. Sadly, and shamefully, the Peninsula, like its northern cousin the Arctic, is warming at a faster rate than the rest of our heating planet. It is 6C warmer now compared to 1950.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 50cm x 68cm
Frame: 71cm x 90cm
£1950 contact me
here
Antarctica: precious and precarious
Flat calm seas as we passed the South Shetland Islands on my trip to Antarctica. The names of wildlife species I saw on the journey are written into the background of the watercolour along with sketches of gentoo penguins and a map of the Antarctic Peninsula
Ink, charcoal and watercolour on board framed in FSC wood
Image: 34cm x 24cm
Frame: 41cm x 30cm
£695 contact me
here
Antarctica: freezing but thawing
A view of the becalmed bay near Port Lockroy, inspired by my trip to the frozen Antarctic Peninsula in 2017. A page from my sketchbook while I was there is included, as well as species I saw are written into the background of the painting. To me it felt so cold when I was sketching. I wore two pairs of gloves and took one off to scribble in fingerless cycling gloves, but could only manage a couple of minutes before I had to put both layers back on because of the cold. Sadly, and shamefully, the Peninsula, like its northern cousin the Arctic, is warming at a faster rate than the rest of our heating planet. It is 6C warmer now compared to 1950.
Acrylic, charcoal and watercolour on paper framed in FSC wood
Image: 50cm x 68cm
Frame: 71cm x 90cm
£1950 contact me
here
Antarctica: cold and critical
The sun rising over the the bay near Port Lockroy on my trip to Antarctica a few years ago. The names of wildlife species I saw on the journey are written into the background of the watercolour along with sketches of humpback whales and a map of the Antarctic Peninsula
Ink, charcoal and watercolour on board framed in FSC wood
Image: 34cm x 24cm
Frame: 41cm x 30cm
£695 contact me
here
£695 from https://www.cookthepainter.com/contact-us
Antarctica: frozen but melting
A view of Wilhelmina Bay, inspired by my trip to the frozen Antarctic Peninsula in 2017. A page from my sketchbook while I was there is included, as well as species I saw are written into the background of the painting. To me it felt so cold when I was sketching. I wore two pairs of gloves and took one off to scribble in fingerless cycling gloves, but could only manage a couple of minutes before I had to put both layers back on because of the cold. Sadly, and shamefully, the Peninsula, like its northern cousin the Arctic, is warming at a faster rate than the rest of our heating planet. It is 6C warmer now compared to 1950.
Acrylic, charcoal and watercolour on paper framed in FSC wood
Image: 50cm x 68cm
Frame: 71cm x 90cm
£1950 contact me
here
Misty ash
A beautiful drooping ash in a lane in the Cotswolds. There are 1,058 different species of bats to mammals, lichen to fungi dependent in some way on ash. Dieback disease has now covered the whole country and we are predicted to slowly lose most of these lovely trees. Winner of the Popular Choice Award at the @brutonart annual exhibition.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1950 Contact me here
Charge Nurse Riley in the temperate rainforest
Temperate rainforests in the UK such as Horner Wood are globally rare and more threatened than tropical rainforest. This wood includes hazel, ash, birch and oak and is a diverse habitat. There are 2,300 different species of bats to mammals, lichen to fungi dependent in some way on oak.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 67cm x 50cm
Frame: 87cm x 73cm
£1850 contact me here
Pioneer
A pioneer tree trying to reforest Dartmoor
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£995 contact me
here
Straight above the spring
The woods near King Alfred's Tower where one of the five springs rise that become the River Stour. Silhouettes and names of species dependent on the river are painted and written into the painting
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 69cm x 94cm
Frame: 89cm x 116cm
£2495 contact me here
Wind on water
The Stour near Sturminster Newton
Ink, watercolour and charcoal on board framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from
The Art Stable
Child Okeford, Dorset
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Dusk falls on Blandford
Winter sun going down near Blandford Bridge. "We might see an otter." I said to my friend as we walked along the Stour in the centre of Blandford Forum an hour earlier. "But probably not. You have to get here at dawn really."……Cue otter. Names of species dependent in some way on the river are written into the painting.
Watercolour and charcoal on paper, framed in FSC wood
Artwork: 34cm x 24cm
Framed: 41cm x 31cm
£695 from
The Art Stable
Child Okeford, Dorset
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Spoilt
COP27 has been, gone and been forgotten. The news cycle has moved on and the headlines it made have already become a sad and distant memory. To my mind, the oil companies, lobbyists and their friends have got away with it again. They gave us warm words about slow, long-term fossil-fuel reduction targets but we're still left with a heating planet.
If the oilmen in suits were physically setting fire to our forests there would be uproar and strenuous efforts made to stop them. But they are doing it more indirectly and subtly so that we hardly notice that it's happening. But it really is. Our woodlands are burning up and so are we. The shocking thing about the oil industry's actions is that it has known for years what the outcome of burning fossil fuels would be on the planet. Sadly, profits trump that knowledge.
These are the words written around the edges of the painting:
"BP intends investing £3bn in renewables by 2025. Over the same time period it will spend £53bn on fossil fuel exploration and production. Oil and gas contribute 19,000,000,000 tonnes of carbon dioxide to the planet each year. BP's revenue in 2019 was £208bn. It aims to increase oil and gas production by 20% over the next ten years, yet intends reaching net zero emissions by 2050. The world's oil companies invest 1% of their budgets in clean energy. They're knowingly burning us alive."
Sources: clientearth.org, The Guardian, ourworldindata.org
Ink and watercolour on board, framed in FSC wood
Artwork: 35cm x 25cm
Framed: 39cm x 29cm
£695 from The Art Stable
Last light
Lucky to see a great sky on an early evening walk.
Ink, watercolour and charcoal on board, framed in FSC wood
Image: 29 x 20cm
Frame: 39 x 28cm
£695 from The Art Stable
Reed gap
Near Wimborne where the river divides and passes White Mill Bridge. Names of species dependent in some way on the river are written into the painting.
Watercolour and charcoal on paper, framed in FSC wood
Artwork: 34cm x 24cm
Framed: 41cm x 31cm
£695 from
The Art Stable
Child Okeford, Dorset
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Beech ravine
A beautiful beech ravine near Hepworth in Yorkshire. We drove up from Dorset to see our friend Sue who lives there. To stretch our legs and give Laika a walk we wandered across the fields, past the football club and down into this shaded valley with the trees gathering around a stream working its way off the moors
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 Contact me here
Beech stream
A beautiful beech ravine near Hepworth in Yorkshire. We drove up from Dorset to see our friend Sue who lives there. To stretch our legs and give Laika a walk we wandered across the fields, past the football club and down into this shaded valley with the trees gathering around a stream working its way off the moors
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 Contact me here
Rainforest stream
Temperate rainforest like Horner Wood on Exmoor are very rare. Once, much of the country would have looked like this. The wood provides a diverse habitat for many species, like the Great oak beauty, depicted on the watercolour, which lives on oak trees that thrive here in this shaded valley fed by a stream working its way off the moors
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from Adrian Hill Fine Art Holt, Norfolk
Gate to the smallholding
The gate into John and Carol's smallholding at the highest part of French Mill Lane
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Frame: 53cm x 39cm
£1150 from Adrian Hill Fine Art Holt, Norfolk
Shining through
Walking in the beech woods near Cranham in the Cotswolds
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Frame: 53cm x 39cm
£1150 from Adrian Hill Fine Art Holt, Norfolk
Towering beech
A beautiful beech ravine near Hepworth in Yorkshire. We drove up from Dorset to see our friend Sue who lives there. To stretch our legs and give Laika a walk we wandered across the fields, past the football club and down into this shaded valley with the trees gathering around a stream working its way off the moors. Beech have shallow roots that suffer in drought conditions. The London dowd moth in the corner of the watercolour is one of the many species dependent on beech trees.
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from Adrian Hill Fine Art Holt, Norfolk
Arching hazel
Overgrown coppiced hazel now creates a lovely shaded arch on the track up to Writh Farm
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£550 available from Sea Pictures Gallery
Morning mist
A misty morning in PIne Walk
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm Framed: 53cm x 39cm
£1250 from Sea Pictures Gallery , Suffolk
Wardour Castle No3
There are 1,058 UK species associated with ash trees, ranging from beetles to birds, lichens to mammals. All will be affected when we lose up to 90% of the UKs 70m ash trees from dieback disease. Research is ongoing into replanting these trees with ash bred with tolerance to the infection
Ink and watercolour on board, framed in waxed FSC ash
11in x 8in / 28cm x 20cm
£695 Available from Sea Pictures Gallery
Chastelton close cut
The Chasteleton oak has been standing for 1,000 years
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Muddy track to Writh
The lane that runs from Writh Farm to Gear's Mill
Ink and watercolour on paper, framed in FSC wood
Artwork: 26cm x 15cm
Framed: 39cm x 29cm
£575 from John Davies Gallery Moreton-in-Marsh
The young oaks
These young trees are (very) slowly getting bigger. They must be around 40 years old now and would have started growing just before we started slashing the hedges with tractor trimmers. There are no younger oaks along the lane because the industrial hedge trimmers aren’t able to spot a new sapling, which would be allowed to mature and so everything in the hedge is cut. There are 2,300 different species of bats to birds, lichen to mammals dependent in some way on oak trees
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Foggy morning
Walking past the old oak along Gascoigne's Lane on a foggy morning
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
High summer mist
Along the lane in Ashmore with a high summer drizzle cloaking the trees
Part of The Arborealists exhibition, 'Being with trees' in Gibraltar 19 Jan -12 Mar 2021
Ink, watercolour and charcoal on paper, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1200 from John Davies Gallery Moreton-in-Marsh
Beginnings
The start of the Stour. This amazing 500-year-old oak stands 750ft above sea level near St Peter's Pump, the monument that marks the beginning of the river's 61 mile journey from Stourhead to the sea. It's all downhill from here.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850 contact me
here
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Look up to the trees
Looking up from beneath the Sturkel, one of the 48 tributaries of the River Stour
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850 contact me
here
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
The shallows
Near Sturminster Mill where the river divides. This half meanders through shallows and overhanging willows. Silhouettes and names of species dependent on the river are hidden in the painting
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 44cm x 29cm
Framed: 53cm x 39cm
£1150 contact me
here
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Drifting by
Near Marnhull beneath the River Stour looking up to ivy-clad trees
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850 contact me
here
One of 30 paintings in my solo exhibition Wend: the Stour from source to sea 11 June to 9 July. Private View Friday 17 June 6-8pm
Nearly home
From a frosty morning walk as the sun slowly warmed its way through the mist. Featured on the SGFA Drawing Together online exhibition
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 from John Davies Gallery Moreton-in-Marsh
Sezincote (1370AD)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This giant tree in the grounds of Sezincote House may have started growing around 1370
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£,4,400 from John Davies Gallery Moreton-in-Marsh
Blenheim oak (1400)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. There are 326 species that live solely on oak. This tree started growing around 1400 and stands in the Blenheim Palace estate, the wood with the most ancient oaks in Europe
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£4,400 from John Davies Gallery Moreton-in-Marsh
Antarctica. Deep water. An apology
A couple of years back I was lucky enough to go to Antarctica. After (guiltily) sailing Drake's Passage, which is the 600 miles of open sea where the Pacific and Atlantic meet, this was the first view of land. After two days of seeing dark ocean and icebergs the incredible mountains and ice appearing on the horizon are other-worldly. The massive peaks and glaciers seem so monumental and give a feeling of permanence. Sadly it’s not. These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Contact me
here
Antarctica. Landfall. An apology
Selected for Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
A couple of years back I was lucky enough to go to Antarctica. After (guiltily) sailing Drake's Passage, which is the 600 miles of open sea where the Pacific and Atlantic meet, this was the first view of land. After two days of seeing dark ocean and icebergs the incredible mountains and ice appearing on the horizon are other-worldly. The massive peaks and glaciers seem so monumental and give a feeling of permanence. Sadly it’s not. These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Contact me
here
Antarctica. First glimpse. An apology
I was lucky enough to go to Antartica. After sailing for two days without seeing land this was my first sight of the continent. These are the words written into the background of the painting
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Contact me
here
Antarctica. Waiting. An apology
BEST IN SHOW
At Society of Graphic Fine Art Centenary exhibition at Mall Galleries, London 5 -10 July
I was lucky enough to go to Antartica. This view shows moulting juvenile penguins waiting for their parents to return and feed them just-caught krill. In recent years penguins that wouldn't have been suited to breeding on the Antarctica Peninsula are now nesting in large numbers due to warming temperatures.
The year before I visited more than a third of penguin chicks on the islands died of starvation. In the same area trawlers were ‘suction' harvesting krill, a tiny crustacean, for our increasing demand for omega 3 food supplements and fish farm food. Scientists believe that with less krill in the area, less food was available to the birds. Fewer surviving penguins means less prey for seals and orca.
These are the words written into the background of the painting:
If the predictions were right this sight, my first glimpse of frozen Antarctica, has completely changed. Even by 2020 the peninsula was 5.5˚ warmer than in the 1950s. I can't imagine what it's like now. I'm sorry, but there weren't enough of us willing to adapt our lives to prevent the planet heating up as it has. We stumbled on, voting for politicians who denied what was happening. Many of them wilfully blocked any change for decades, even though the evidence of the damage we were doing was clear. Millions of us turned a blind eye to our knowing destruction of Earth so that we could lead comfortable and profligate lives, even though we knew that you, in the future, would have to pay for our selfishness.
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 69cm x 93cm
Frame: 90cm x 120m
£2350
Contact me
here
Slow burn
Selected for the Society of Graphic Fine Art exhibition at The Mall Galleries , London from 17-21 May
COP26 has been, gone and been forgotten. The news cycle has moved on and the headlines it made have already become a sad and distant memory. To my mind, the oil companies, lobbyists and their friends have got away with it again. They gave us warm words about slow, long-term fossil-fuel reduction targets but we're still left with a heating planet.
If the oilmen in suits were physically setting fire to our forests there would be uproar and strenuous efforts made to stop them. But they are doing it more indirectly and subtly so that we hardly notice that it's happening. But it really is. Our woodlands are burning up and so are we. The shocking thing about the oil industry's actions is that it has known for years what the outcome of burning fossil fuels would be on the planet. Sadly, profits trump that knowledge.
These are the words written around the edges of the painting:
"In 2020 Shell had sales of £232bn. In the same year it aimed to spend £2bn on low carbon businesses. Its annual marketing budget for 2020 was £2bn. Oil and gas contribute 19,000,000,000 tonnes of carbon dioxide to the planet each year. Shell spent £1.5bn on low carbon generation from 2016-2020. At the same time it invested £90bn in fossil fuels. Shell is considered to be a climate leader in the industry. Oil companies invest 1% of their budget in clean energy. They are knowingly burning us alive."
Sources: clientearth.org, The Guardian, ourworldindata.org
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1950
Warm words
COP26 has been, gone and been forgotten. The news cycle has moved on and the headlines it made have already become a sad and distant memory. To my mind, the oil companies, lobbyists and their friends have got away with it again. They gave us warm words about slow, long-term fossil-fuel reduction targets but we're still left with a heating planet.
If the oilmen in suits were physically setting fire to our forests there would be uproar and strenuous efforts made to stop them. But they are doing it more indirectly and subtly so that we hardly notice that it's happening. But it really is. Our woodlands are burning up and so are we. The shocking thing about the oil industry's actions is that it has known for years what the outcome of burning fossil fuels would be on the planet. Sadly, profits trump that knowledge.
These are the words written around the edges of the painting:
"In 2020 Shell had sales of £232bn. In the same year it aimed to spend £2bn on low carbon businesses. Its annual marketing budget for 2020 was £2bn. Oil and gas contribute 19,000,000,000 tonnes of carbon dioxide to the planet each year. Shell spent £1.5bn on low carbon generation from 2016-2020. At the same time it invested £90bn in fossil fuels. Shell is considered to be a climate leader in the industry. Oil companies invest 1% of their budget in clean energy. They are knowingly burning us alive."
Sources: clientearth.org, The Guardian, ourworldindata.org
Ink and watercolour on board, framed in FSC wood
Artwork: 35cm x 25cm
Framed: 39cm x 29cm
Heated words
COP26 has been, gone and been forgotten. The news cycle has moved on and the headlines it made have already become a sad and distant memory. To my mind, the oil companies, lobbyists and their friends have got away with it again. They gave us warm words about slow, long-term fossil-fuel reduction targets but we're still left with a heating planet.
If the oilmen in suits were physically setting fire to our forests there would be uproar and strenuous efforts made to stop them. But they are doing it more indirectly and subtly so that we hardly notice that it's happening. But it really is. Our woodlands are burning up and so are we. The shocking thing about the oil industry's actions is that it has known for years what the outcome of burning fossil fuels would be on the planet. Sadly, profits trump that knowledge.
These are the words written around the edges of the painting:
"ExxonMobil had a turnover of £1,069bn between 2015-2000. During the same time it spent 0.01% of that on low-carbon investments and developments. Oil and gas contribute 19,000,000,000 tonnes of carbon dioxide to the planet each year. ExxonMobil is the self-proclaimed leader in carbon capture. It stores 9m tonnes of CO2 per year. That is 2% of its annual emissions of 730m tonnes in 2019. The world's oil companies invest 1% of their budgets in clean energy. They're knowingly burning us alive."
Sources: clientearth.org, The Guardian, ourworldindata.org
Ink and watercolour on board, framed in FSC wood
Artwork: 35cm x 25cm
Framed: 39cm x 29cm
Earthwork edge
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964 it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£675
Contact me
here
Shardow
There are 8.4m trees in London. I find this an incredible thought, especially when you view the city from high up. Besides looking nice and all the other benefits of trees, that equates to 2.4m tonnes of carbon safely stored away. In 2015 I was lucky to have stayed in the Shangri-La Hotel on the 45th floor of The Shard and captured this scene. From that viewpoint I could see only around ten of the 8.4m.
Thinking back to 2015 gives me painful memories as I struggled to even get to the hotel. Two months before I slipped a disc which made walking or standing excruciating after a couple of minutes. For nine months I tried a succession of exercises and physiotherapies to cure the problem. Sadly none worked and I eventually had an operation that thankfully had me standing pain free instantly. Looking back makes me very grateful
Ink and watercolour on board, framed in FSC ash
Artwork: 30cm x 46cm
Framed: 39cm x 53cm
£1095 Contact me here
Jürgen's view?
I stayed in a hotel Liverpool FC use the night before they play a home game. The whole team, including the manager Jurgen Klopp prepare for the match and overnight there. I was lucky enough to get an upgrade to a lovely room on the top floor. I wonder if this is the view Jurgen usually has? Looking out, I could only spot a couple of trees. The centre of Liverpool had 1% tree cover in 2012. It's aiming now to get to 10%
Ink and watercolour on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 Contact me here
8.4m to 1
After sketching the Barn Elms Plane tree I stayed at a hotel in London (serendipitously called the Treehouse in Marylebone). The restaurant is on the 15th floor with 360 degree views. Quite late in the evening, while looking over the London rooftops, I noticed one Plane tree silhouetted in the streetlights. From that particular view it was the only tree I could see. An amazing contrast to the other London tree I’d seen earlier in the day. There are incredibly 8.4m trees in the capital city
Ink, watercolour and charcoal on board, framed in FSC wood
Artwork: 30cm x 20cm
Framed: 39cm x 29cm
£695 Contact me here
Off the hill
There is evidence that people lived on Hambledon Hill 5,000 years ago, 1,000 years before Stonehenge was built. The worlwide human population in 3,000BC was around 7m. In 1964 it was 3,250m, today there are 7,710m of us
Ink, watercolour and charcoal on paper, framed in FSC wood
11in x 8in / 28cm x 20cm 15in x 9in / 39cm x 29cm framed
£675
Contact me
here
326: Moonlit Chastleton oak (1020)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. There are 326 species that live solely on oak. This tree in Chastleton may have started growing around 1020
Ink, charcoal and watercolour on paper framed in FSC wood
5ft x 4ft
£3,850
Bourton on the water oak No2
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This giant tree is 10m around
Ink, charcoal and watercolour on paper framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1250 Contact me here
Ground Cloud II
Selected for the SGFA Draw20 exhibition at Mall Galleries
Of the 2,300 species dependent in some way on oak trees, ranging from beetles to birds, lichens to mammals, 326 of them only live on oak trees. This is what makes every tree so important. Our once vast ancient woodlands now only cover 2% of the UK
Ink and watercolour on paper, framed in FSC wood
Image: 68cm x 50cm
Frame: 87cm x 69cm
£1850
Contact me
here
Frozen fields
Snow in the fields at Asmore, the highest village in Dorset
Ink, watercolour and charcoal on board, framed in FSC wood
44cm x 29cm artwork 53cm x 39cm framed
£995 Contact me here
West Melbury oak (1856)
2,300 species, from birds to beetles, fungi to lichens are dependent on oak trees. This acorn was sown around 1856
Ink, charcoal and watercolour on paper framed in FSC wood:
88cm x 73cm
£1850 Contact me here
Silton oak (1018)
This incredible tree at Silton, Dorset could be 1,000 years old. It's trunk is 9.75m around and is also known as Wyndham's Oak. It is a boundary oak marking the border between the Selwood and Gillingham forests. During a revolt in 1685 it was also used as a hanging tree.
Ink, charcoal and watercolour on paper, unframed:
88cm x 73cm
£750
Contact me
here
Yew shade SOLD
A stand of dark yew giving cool shade from summer sun. Species dependent on the trees are written in the background of the watercolour
Ink, charcoal and watercolour on board framed in FSC wood
Image: 34cm x 24cm
Frame: 41cm x 30cm
SOLD from
Kevis House Gallery
Petworth
See the painting in progress here:
Dappled slope SOLD
Underlit ash and beech line a winding track as it leads deeper into the wood. Species dependent on the trees are written in the background of the watercolour
Ink, charcoal and watercolour on board framed in FSC wood
Image: 34cm x 24cm
Frame: 41cm x 30cm
SOLD from
Kevis House Gallery
Petworth
See the painting in progress here:
Shaftesbury sketches
Scribbles of the local patch from the sketchbook
Framed in FSC ash
Artwork: 20x13cm
Framed: 25x20cm
£100-£125 from Folde Dorset
