Stewart Taylor
£0.00
At the start of 2020, Stewart made monoprints of several pollarded Lime Trees outside my London flat, and then the whole street and all the surrounding streets; quickly recognizing that London’s street trees were something of a multi-valent representation of many things we don’t know about ecology.
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
At the start of 2020, Stewart made monoprints of several pollarded Lime Trees outside my London flat, and then the whole street and all the surrounding streets; quickly recognizing that London’s street trees were something of a multi-valent representation of many things we don’t know about ecology.
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
At the start of 2020, Stewart made monoprints of several pollarded Lime Trees outside my London flat, and then the whole street and all the surrounding streets; quickly recognizing that London’s street trees were something of a multi-valent representation of many things we don’t know about ecology.
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
He then moved into the nearby parks and woodlands of East London to record stressed, dead, or dying trees. After moving to Devon, he printed local trees that had been introduced into the ecosystem (Monterrey Pines); those affected by similarly transported deadly pathogens (Sudden Oak Death and Ash Dieback); the victims of deadly wildfires (Joshua Trees in the Mojave National Preserve), and those that are managed by us and the keystone species that will be vital to nature's recovery.
Nearly all of the Tree Portraits are composite gelliplate monoprints, with varying degrees of layering, employing stencils and masking fluid for the larger pieces. Stewart recreates a sense of place and a feeling of unique identity regarding each tree, which is reinforced by using monoprint. He is now one of the leading gelliplate practitioners, and an article on his techniques will be published in the 2024 Summer edition of Printmaking Today.
15 prints from the series were acquired by the Jyväskylä Art Museum, and are also present in private collections in the UK, USA & Europe. Archival prints and originals from this series have raised over £4,000 for the Woodland Trust & Rewilding Britain, and will feature in another fundraiser for the Joshua Tree replanting program in 2024.
There are now well over 300 prints in this series.
“No one sees trees. We see fruit, we see nuts, we see wood, we see shade. We see ornaments or pretty fall foliage.
Obstacles blocking the road or wrecking the ski slope. Dark, threatening places that must be cleared.
We see branches about to crush our roof. We see a cash crop. But trees—trees are invisible ”
― Richard Powers, The Overstory (p. 423).
