Fiona Carver

Suffolk Beach Huts, Print by Fiona Carver

2010

Grazing by the Estuary, Painting by Fiona Carver Grazing by the Estuary is an original limited edition linocut by Fiona Carver illustrating sheep grazing gently on the banks of a typical Cornish Estuary. The lovely pink hydrangeas are growing and, as you’d expect in Du Maurier country, the dark trees reach down the hill to the water’s edge. It is hand printed using four lino blocks on archival paper. Edition of 50 Fiona Carver is a painter and printmaker from the Rutland/Leicestershire border. She trained at Edinburgh College of Art graduating with a BA (hons) in 1999 and now creates contemporary oil paintings and linocuts of the land and sea. She is interested in capturing an impression of a place, the atmosphere, colours and emotion experienced at that time. Her paintings are completed mostly ‘en plein air’ meaning they are painted outdoors, usually in one sitting. That way she can capture the light and weather, getting the brush marks down before it changes. The challenges of painting in wind or rain, with moving subjects and changing views adds to the exhilaration of finishing a painting, stepping back, stretching and absorbing what is on the canvas. The process of creating a linocut makes a nice contrast for Fiona with it’s slow, methodical planning. She cuts multiple blocks for each print, one for each colour, and layers them to build up the image. She usually has a good idea of what the finished piece will look like but this can change as the image progresses and Fiona will often adapt it as she goes along. She is interested by the process of etched lino and experiments with this to create texture and energy in her practice. Additional information: Limited Edition Landscape Print Linocut hand printed using oil based inks on archival paper Image Size: 24 cm x 29 cm Mounted size: 37.5cm x 43.2cm Sold mounted and not framed Free Shipping Please note that in situ images are purely an indication of how a piece may look. Fiona has been creating things since she was a tiny girl when her grandmother would encourage her to draw elaborate chalk pictures on her kitchen floor. She went on to study Design and Applied Arts at Edinburgh College of Art, graduating in 1999. Here she combined her love of drawing and painting with three-dimensional disciplines such as furniture and ceramics. She now pursues this interest in both flat and more hands on work through lino printing, enjoying the different stages of drawing, gouging lino and inking up and printing which she does with her antique cast iron press...

Dancing Moon Cottages is a limited edition print by Anya Simmons, inspired by her travels across the United Kingdom. This Giclée limited edition print is created using archive quali...

Champagne City, Slate Blue Thames, Painting by Clare Halifax Very limited edition of 10 prints featuring hand gilded champagne gold leaf 22.5ct with slate blue thames. This 2 colour screen print with hand finished gilding is printed by the artist and shows the view of the thames from sky garden Additional information: Image size 48x48cm, Paper size 56x56cm, Edition of 10, Printed onto somerset satin 300gms with deckle edge. Size: H:56 cm x W:56 cm Clare Halifax, artist. Clare Halifax is offering exclusive Cotswold screen prints as well as scenes of London and Oxford. Clare Halifax graduated from the University of Loughborough in 2000 with a BA Hons in Printed Textile design...

Let's Party is a limited edition giclée print by artist Susan Brown, featuring a composition of three vases in an abstracted still life. Each vase contains a cluster of orchid flower...

Cities 20 – Evening, Radcliffe Camera Oxford by Susan Brown. A limited edition giclée print. The print edition is 150 The image size is 40 x 40 cm, overall size is 50 x 50 cm. Each ...

Clare Halifax Living and Learning in London Limited Edition 9 Colour Silkscreen Print Edition of 75 Sheet Size: H 37cm x W 38cm x D 0.1cm Sold Unframed Please note that in situ image...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...