Wend: the Stour from source to sea

A solo exhibition of 30 watercolours celebrating the River Stour's magnificent 61-mile journey to the English Channel from its Stourhead source will be at the Art Stable , Child Okeford, Dorset from June 11 to July 9 with a Private View on Friday June 17 from 6-8pm

When researching this project I only just registered why the wonderful Stourhead estate is so called, it marks the spot where the river starts. As it wends through Dorset, many villages are named in its honour: West Stour, Stourpaine, Stourton, Stour Provost, Sturminster Newton, illustrating how our ancestors instinctively appreciated its vital role in our lives. I'm painting its twisting course as it falls 750ft from where it bubbles up as a stream that you can walk over in Wiltshire to Christchurch Harbour, showcasing its beauty and its environmental importance.

My paintings include silhouettes and names of the many species that I see and are dependent on the river and which are sadly threatened by pollution. Water companies in England discharged raw sewage into rivers 372,533 times for a total of more than 2.7m hours in 2021. Our local company, Wessex Water, legally discharged raw sewage 23,532 times. A recent parliamentary report concluded that, "There are no rivers in England that can be given a clean bill of health."

And yet……I said to my friend visiting from London "We might see an otter," as we walked along the river in the centre of Blandford Forum in the middle of the afternoon. "But probably not. You have to get here at dawn really."……Cue otter.

Through lots of research it’s sad to realise how the river has changed. For example, salmon were once so plentiful that up to the 1960s fishermen hand hauled nets in Christchurch Harbour and that even 30 miles up the river a 40lb salmon was caught. Fisherman's tale? Maybe, but it's unimaginable that a fish of that size could be caught there today.

Sun above the source

Winter sun though the trees of the woods that cloak the valley above Stourhead, the source of the River Stour

Ink, watercolour and charcoal on watercolour canvas ground

Artwork: 123 x 91cm
Framed: 127 x 95cm

£3250 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

Stream through the green

The River Stour near Zeals, just below Stourhead, is still a stream. It’s a tranquil, beautifully overgrown spot which makes it hard to imagine what happened here just over 100 years ago. After heavy rain the dam at a Stourhead broke and 18 acres of water suddenly flooded down the valley in a massive wall of water and mud. Many homes and bridges were swept away.

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

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

After the rain

Selected for 2022 Royal Institute of Painters in Water Colours exhibition at the Mall Galleries, London

The Stour below Hod Hill after a day of rain. Names of species dependent in some way on the river are written into the painting as well as the footprint of an otter. I saw one on this stretch of the Stour recently

Ink and watercolour 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

Winter water meadows

Selected for 2022 Royal Institute of Painters in Water Colours exhibition at the Mall Galleries, London

An Ivy-clad willow on the water meadows. Names of species dependent in some way on the river are written into the painting as well as the silhouette of a kingfisher that sped across my view

Ink and watercolour on board, framed in FSC wood

Artwork: 24cm x 34cm
Framed: 31cm x 41cm

£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

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

£1975 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

Summer near the source

It's a strange feeling to be able to step over this spring which is one of the sources of the Stour at Gasper, just below Stourhead.

Ink and watercolour on board, 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

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

£2600 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

Winter willows

Selected for 2022 Royal Institute of Painters in Water Colours exhibition at the Mall Galleries, London 

Willows on the Stour. Names of species dependent in some way on the river are written into the painting as well as the silhouette of a kingfisher that sped across my view

Ink and watercolour on board, framed in FSC wood

Artwork: 24cm x 34cm
Framed: 31cm x 41cm

£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


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

£1975 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

Cloudbreak

A stretch of the Stour near Sturminster

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

Winter sun at Sturminster

Where the River Stour divides to feed into Sturminster Mill

Ink, charcoal and watercolour on paper framed in FSC wood

Image: 68cm x 50cm
Frame: 87cm x 69cm

£1975 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

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 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

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

£1975 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

Above the source

Winter sun though the trees of the woods that cloak the valley above Stourhead, the source of the River Stour

Ink, watercolour and charcoal on watercolour canvas ground

Artwork: 123 x 91cm
Framed: 127 x 95cm

£3250 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

Reflecting

The remains of Cutt Mill on the Stour north Sturminster

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

Bed of reeds

At Hengistbury Head looking across the reed bed to Christchurch Priory

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

Below the mill

The River Sturkel, a small tributary of the River Stour, flows through the wheels of three mills in the valley below our house

Ink and watercolour on board, framed in FSC wood

Artwork: 20cm x 30cm
Framed: 29cm x 39cm

£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

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

Snow on the stream

Deep winter snow at the Sturkel River. One of the 48 tributaries of the Stour

Ink and watercolour on board, 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

Leaning into winter

Selected for 2022 Royal Institute of Painters in Water Colours exhibition at the Mall Galleries, London 

Near Bryanston. Names of species dependent in some way on the river are written into the painting as well as the footprint of an otter. I saw one on this stretch of the Stour recently

Ink and watercolour on board, 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

Bed of reeds II

At Hengistbury Head looking across the reed bed to Christchurch Priory

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

Rain at the Run

The Run at Hengistbury Head. The end of the River Stour's 61 mile journey to the sea from Stourhead

Ink, charcoal and watercolour on paper framed in FSC wood

Image: 68cm x 50cm
Frame: 87cm x 69cm

£1975 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

Meander

On the River Stour near Child Okeford. Trees drooping into the river with reeds and debris caught in their branches giving away the height of the floods

Ink and watercolour on board, framed in FSC ash

Artwork: 30cm x 19cm
Framed: 39cm x 28cm

£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

Fiddleford footbridge

Just below the ancient mill at Fiddleford and the water turbine generator, looking towards the bridge that forms part of the North Dorset Trailway that runs from Sturminster Newton to Spetisbury

Ink and watercolour on board, 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

Sturkel bend

The River Sturkel, a small tributary of the River Stour, twists and turns through the valley a couple of fields down the the lane from us

Ink and watercolour on board, framed in FSC wood

Artwork: 20cm x 30cm
Framed: 29cm x 39cm

£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

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

Kingfisher at Eye Bridge

The Stour at Eye Bridge near Wimborne Minster. There had been heavy rain the day before during Storm Eunice so the levels were high. Just before I set my easel up a kingfisher flashed past

Ink, watercolour and charcoal on board, 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

Mud under Hod

The muddy track that runs next to the Stour beneath the looming Hod Hill. Species dependent on the river are written into the background along with the mayfly that appears in the spring

Ink and watercolour on board, 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

Woodland path

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 Feathered thorn, depicted on the watercolour, which lives on oak trees that thrive here in this shaded valley

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

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

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 from  Sea Pictures Gallery , Suffolk

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

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 from  Sea Pictures Gallery , Suffolk

Sun worshipper

Part of the Arborealists exhibition Trees and the sacred at Norwich Hostery from 28 April to 28 May. A lovely catalogue of the works on show is available here 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 available from the Norwich Hostery

Misty ash

Selected for 2022 Royal Institute of Painters in Water Colours exhibition at the Mall Galleries, London from 14 -23 April

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.

Ink, charcoal and watercolour on paper framed in FSC wood

Image: 68cm x 50cm
Frame: 87cm x 69cm

£1950 from  Mall Galleries

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

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

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

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

£1295 from Kevis House Gallery   Petworth

Watching

While I was yomping through @petworthnt looking for trees to paint I disturbed this deer standing in the shade. He kept an eye on me, as I did him: he had some impressive antlers on him

Ink, watercolour and charcoal on board framed in FSC wood

Artwork: 30cm x 20cm

Framed: 39cm x 29cm

£750 from  Kevis House Gallery  Petworth Sussex

Upwaltham path

Following a track through the just-harvested fields near Upwaltham Church. Lovely big ash tree on the right providing shade. There are 1,058 species dependent on ash trees including the Angle barred pug in the bottom left.

Ink, watercolour and charcoal on board framed in FSC wood

Artwork: 30cm x 20cm

Framed: 39cm x 29cm

£750 from  Kevis House Gallery  Petworth, Sussex

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 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

Contact me  here

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

Spoilt

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:
"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

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

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

Selected for the Royal Institute of Painters in Water Colours 209th Exhibition 2021 at Mall Galleries, London

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

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

£1195

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

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

West Melbury oak (1825)

2,200 species, from birds to beetles, fungi to lichens are dependent on oak trees. This acorn was sown around 1825

Ink, charcoal and watercolour on paper framed in FSC wood

88cm x 73cm

£1200

Contact me  here

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

£675 

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

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

£1100 Contact me  here

Oil on the fire

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:
"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

Shaftesbury sketches

Scribbles of the local patch from the sketchbook

Framed in FSC ash

Artwork: 20x13cm

Framed: 25x20cm

£100-£125  from  Folde Dorset