Editions of 100
Prints
Each image is released in an edition of one hundred, pulled from a studio scan of the painting, numbered in pencil, and shipped rolled with a certificate signed by the artist.
How each sheet is made
- Paper
- 200gsm FSC-certified smooth matte, 0.26 mm. Glare-free. Twelve-colour fine art printing for depth and true colour, well beyond four-colour inkjet.
- Format
- One size for every image: A0, 84.1 × 118.9 cm, the largest sheet the press runs — turned landscape or portrait to meet the painting. The image holds the painting’s own proportion, so the sheet carries a white margin around it. Nothing is cropped.
- Edition
- 100 per image, numbered in pencil. A certificate signed by the artist follows from the studio.
- Framing
- Not included. The sheet arrives bare, with its margin intact.
- Delivery
- Printed to order at the press nearest you. Allow 2–5 working days in the studio, then 2–7 days in transit, tracked.
- Shipping
- Rolled in a tube, tracked, worldwide. Included in the price — there is no shipping line at checkout.
- Duty and tax
- Taxes are calculated at the final step. Inside the EU the price you see is the price you pay; outside the EU your country’s import duty and VAT are payable on delivery and are not included.
- If it arrives damaged
- Photograph the tube and the sheet and write to the studio within 14 days of delivery. A replacement is printed and sent at no cost.
- Returns
- You may cancel within 14 days of delivery for any reason and return the sheet unrolled and unmarked for a full refund of the price. Return postage is yours unless the print arrived damaged or incorrect.
- Payment
- Card and Apple Pay at checkout.
13 images in edition
The figure is painted at full anatomical weight and then pulled sideways until it comes apart. What holds is the hand and the arch of the foot. The paint is allowed to run and the run is left in.
A body mid-flight against a wall of olive and bone. The drips fall vertically while the figure moves horizontally — two speeds in the same picture.
A body held level above a band of dark water, arms reaching back, nothing under it. The ground is worked in green and bone until it stops reading as a room and starts reading as air.
Ochre and black at the base, a spine turned away. The face is withheld.
Grey flesh laid over a scaffold of blocked-in rectangles. The ground is as worked as the body.
A body carried across a cold blue band, arms thrown ahead of it. The weight is in the paint, not the pose.
Vertical format, back turned, the whole figure drawn in silver and lifted off a yellow bruise.
The palest painting in the series. Cold light, warm body, arms thrown out to stop a fall.
Climbing or falling — the composition refuses to settle which.
The figure is painted at full weight and then dragged through its own afterimage — hair, arms and legs smeared into successive exposures while the ribcage stays exact. The wall and the skirting board behind it are rendered as carefully as the body, so the room is the only fixed thing in the picture.
Three figures in a green dark, worked wet into wet until the bodies share an outline. The only square canvas in the group.
A head thrown open across two metres of canvas, one eye left intact while the skull breaks into thrown black and cadmium. The largest single head in the cycle.
A head built out of thrown black on bare ground, with cadmium yellow held back to one side. Only the eyes are finished.
If the work you are after is not listed here, or you are asking after the original canvas, write to the studio.
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