Monoprint
Media Dimensions: 71 x 100 cm
Image Dimensions: 71 x 100 cm
Unique Work
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £200.00.
In early 2020, Stewart began making monoprints of pollarded Lime Trees outside his London flat. One tree became a street, then a neighbourhood—each print uncovering something deeper about our overlooked relationships with urban ecology. His focus soon expanded to trees in East London parks showing signs of stress or dieback. After relocating to Devon, he began documenting local trees shaped by climate and human impact: Monterey Pines introduced to the landscape, oaks and ash affected by deadly pathogens, fire-scarred Joshua Trees in the Mojave, and the lichen-draped veterans of Dartmoor’s rare temperate rainforests. Most works in the Tree Portraits series are composite gelliplate monoprints, built up through intricate masking, stencils and layered textures. Each print aims to evoke not only a tree’s visual character but its ecological context and emotional presence. Stewart is now recognised as a leading gelliplate practitioner, with his techniques featured in Printmaking Today (Summer 2024). His prints have been acquired by the Jyväskylä Art Museum (Finland) and held in private collections across the UK, USA and Europe. Sales from the series have raised over £4,000 for The Woodland Trust and Rewilding Britain. In 2024, Stewart won the Creativepool Artist of the Year award. “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).
Monoprint
Media Dimensions: 71 x 100 cm
Image Dimensions: 71 x 100 cm
Unique Work
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £200.00.
In early 2020, Stewart began making monoprints of pollarded Lime Trees outside his London flat. One tree became a street, then a neighbourhood—each print uncovering something deeper about our overlooked relationships with urban ecology. His focus soon expanded to trees in East London parks showing signs of stress or dieback. After relocating to Devon, he began documenting local trees shaped by climate and human impact: Monterey Pines introduced to the landscape, oaks and ash affected by deadly pathogens, fire-scarred Joshua Trees in the Mojave, and the lichen-draped veterans of Dartmoor’s rare temperate rainforests. Most works in the Tree Portraits series are composite gelliplate monoprints, built up through intricate masking, stencils and layered textures. Each print aims to evoke not only a tree’s visual character but its ecological context and emotional presence. Stewart is now recognised as a leading gelliplate practitioner, with his techniques featured in Printmaking Today (Summer 2024). His prints have been acquired by the Jyväskylä Art Museum (Finland) and held in private collections across the UK, USA and Europe. Sales from the series have raised over £4,000 for The Woodland Trust and Rewilding Britain. In 2024, Stewart won the Creativepool Artist of the Year award. “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).
