Deep Forest

A forest-inspired original painting with gold, black and green tones

Just because I normally shout with my colours doesn’t mean I can’t explore more subtle ideas from time to time.
This effortless painting combines carefully applied details and nuances and a graduated palette reminiscent of plant growth.


One-off original painting
No prints or reproductions
Includes a Certificate of Authenticity & Valuation Certificate
Heat, UV and fade resistant



225cm x 75cm (88″ x 29″)
Can be hung on any substrate or surface (except glass) and in any orientation
Stands out 46mm from the wall


Inspired by the natural world and the beauty of nature. In particular this is an abstraction of my thoughts and feelings about forests.

I remember going into Kielder when I was in my late teens as I was a marshal for the Lombard RAC Rally at that time. Hours and hours spent in the cold, damp conditions waiting for the cars to come through. Heavenly bliss and treasured memories of a time in world rallying we will never get back. I’ve fused those memories with other influences from natural Japanese forestation (particularly the southern part of Honshu Island – the main island in Japan – where Beech Trees are the prevalent species) and programs on the Discovery Channel.

I’ve used a different kind of paint mix for this piece; they are still enamels but a version without the gloss medium in it. If you think about how trees look for a moment how many have a high gloss finish? So to stick with the abstract idea that I could, in some way, simulate the textures of branches and bark I opted to remove the gloss resin from each of the paint colours. This was a decidedly uncomfortable move for me as I understand from those who buy my work (and who visit the gallery) that it’s a quality I have become known for – especially as the gloss is contained within my paints and not applied afterwards, like so many paint mediums require.

The addition of gold, when added to the black, has given the composition a rich and reflective element. It’s even more important for me to include something to catch the light as I chose to take away the normal textural reflectiveness of the gloss finish. It works remarkably well.

It’s worth pointing out that this painting is equally happy hung upright (portrait) or length-ways (landscape). The ability to do this changes the painting completely. It’s also worth noting that it’s signed on the reverse so you can change the orientation to suit your mood.

There are other colour elements too; light pistachio green, two shades of cream, two of white, slate grey, silver grey – it’s nice to pick out the small details, things you might not notice at first. But then I guess that’s a lot like walking through a forest – last time I was in Scotland I was in a woodland on a Pheasant Shoot (sounds grand but I was a ‘beater’ not a shooter); I loved the way that the local ecosystem had begun to break down fallen trees and create new life from them. Algae, lichens, fungi. From the small things do the great things grow.


  • Canvas: Scandinavian cotton coarse weave; 365 gsm (11.60z)
  • Primer: Two coats of Gesso applied
  • Base Coats: Yes – a single grey
  • Paint: Enamel paint (7 colours) made to my own recipe
  • Frame: 44mm Museum graded floating frame with 8 tensioning corner wedges. Made from European softwoods from substantiate forests
  • Hand-stretched and stapled on the reverse
  • Signed on the reverse (so you can hang it in any orientation)


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