Fiona Fouhy ARE
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‘Unnumbered quests and voyages have taken place through and over the deepwood, and fairy tales and dream-plays have been staged in its glades and copses. Woods have been a place of inbetweenness, somewhere one might slip from one world to another, or one time to a former’*. Fouhy’s forest monotypes are full of atmosphere. Ranging from lush temperate rainforests to dry, pine-strewn woodlands, she uses experimental printing techniques, moving etching inks around with rags and rollers to create intrigue and draw the viewer into the scene. Each piece is produced with an unrepeatable combination of chance and controlled technique which Fouhy has developed through years of making monotypes.
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
‘Unnumbered quests and voyages have taken place through and over the deepwood, and fairy tales and dream-plays have been staged in its glades and copses. Woods have been a place of inbetweenness, somewhere one might slip from one world to another, or one time to a former’*. Fouhy’s forest monotypes are full of atmosphere. Ranging from lush temperate rainforests to dry, pine-strewn woodlands, she uses experimental printing techniques, moving etching inks around with rags and rollers to create intrigue and draw the viewer into the scene. Each piece is produced with an unrepeatable combination of chance and controlled technique which Fouhy has developed through years of making monotypes.
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
‘Unnumbered quests and voyages have taken place through and over the deepwood, and fairy tales and dream-plays have been staged in its glades and copses. Woods have been a place of inbetweenness, somewhere one might slip from one world to another, or one time to a former’*. Fouhy’s forest monotypes are full of atmosphere. Ranging from lush temperate rainforests to dry, pine-strewn woodlands, she uses experimental printing techniques, moving etching inks around with rags and rollers to create intrigue and draw the viewer into the scene. Each piece is produced with an unrepeatable combination of chance and controlled technique which Fouhy has developed through years of making monotypes.
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
‘All that is more than me’ is inspired by the Forest of Dean’s moss-carpeted Puzzlewood. These steep, tufted hollows and recesses are full of mystical ambiance, conjuring unearthly presences to mind. ‘Landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock’**. Landscapes such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. Fouhy’s use of free-hand mark-making animate the imagination and excite personal insights, her monochrome palette effecting a universal sense of timelessness and nostalgia.
Fouhy studied at Central Saint Martins, London. She has won multiple awards and was elected to associate membership by the Royal Society of Printers and Painters in 2023.
Her work is held in public collections including the Ashmolean Museum, V&A Museum and the Central St Martins College Contemporary Collection. It is held in private collections throughout the UK, Europe, Australia and the USA. She is represented by Eames Fine Art and Rachel Bebb Contemporary.
* The Wild Places, Robert Macfarlane. (London 2007) p.98
** Landscape and memory, Simon Schama. (London 1995) p.7
