There is a sense of stillness, warmth and calm, with the human figure surrendering entirely to the mercy of the elements - the sky and the sea. She seems held at the surface by the rays, prevented from plummeting into the black depths.
The paint is made from pigments hand ground in egg tempera, laid on a gessoed oak panel. The figure is sculpted in gesso in low relief. These medieval techniques ensure purity and depth of colour.
The painting is signed and dated on the reverse and has a d-ring attached so that it is ready to hang.
An Anglo-French artist with professional roots in the conservation of paintings, I bring the meticulousness necessary to that profession to my work. For me, craftsmanship and quality of materials are paramount: I aim to create not just an exquisite image, but also an exquisite object. Using medieval techniques - pigments hand-ground in egg yolk tempera and gold leaf on wooden panels - I hope to bring the wonder in the face of nature, the mysticism and the spirituality characteristic of that period to the contemporary viewer. Heavily influenced by the middle ages, my paintings are sometimes allegorical - allegories of life, death and transcendence – and are celebrations of the variety of the natural world. Using tenderness, intimacy and often a light humour, I awaken viewers' emotions and engage them with their environment, encouraging a sense of love and care essential in these times of pollution and habitat destruction.
I have a masters degree in the history of art from Oxford University and qualifications in the conservation of paintings from Cambridge University and Paris 1 (Sorbonne). My work has appeared in exhibitions at the National Gallery, London and the Fitzwilliam Museum, Cambridge and is in the permanent collection of the Catholic Chaplaincy, Cambridge. I have provided educational videos to the Victoria and Albert Museum, London and the Getty Conservation Center, Los Angeles and, in 2015, my book 'Cennino Cennini's Il libro dell'arte' was published by Archetype, London.