Photographed unframed - shown at the supplied resolution (0 px)
Last Light at Godrevy
Tansy Larsen · 1 work in this exhibition
- MediumReduction woodcut
- Image size28 x 22 cm - framed 35 x 35 cm
- Edition2 of 10 - Unframed editions £90
- Year2026
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About the artist
I am a Welsh, self-taught printmaker and mixed media artist living in Cheltenham. Having grown up in the beautiful Brecon Beacons, I mainly draw inspiration from nature and the outdoors. I love to experiment and combine printmaking techniques in my work, opting for the techniques that I feel best suit my subject matter. My current body of work explores the varied beauty of the British landscape.
Tansy is a Welsh printmaker and mixed media artist based in Cheltenham. She was drawn to printmaking around ten years ago, focusing on linocut initially but over the years finding joy in exploring and combining different printmaking techniques depending on what she feels best suits the subject matter. Her body of work includes linocut, woodcut, monoprint, collagraph, wood engraving and drypoint. Her work has been selected for prestigious art prize shows, including at the Royal Birmingham Society of Artists (RBSA), Royal West of England Academy (RWA) and the Ironbridge Fine Arts Printmakers Competition.
About the artwork
%u201CLast Light at Godrevy%u201D is a reduction woodcut print made up of 11 layers. It is part of a limited edition of 10, printed using Cranfield Caligo Safe Wash Relief Inks using extender and thin layers to gradually build up the image. I%u2019ve sought to reflect the Cornish coast at its most dramatic, when a storm has frothed up the sea and the last light of the sun is just peeking through the storm clouds at dusk. This piece forms part of my recent body of work exploring the varied landscape of the United Kingdom. I work mainly in linocut, although in recent years I have enjoyed exploring different printmaking techniques, often combining them to create new effects, and finding which technique best suits each subject. For this piece I opted for woodcut because I felt the additional texture brought by the woodgrain perfectly complemented the drama of the scene. I am drawn to the reduction technique for more complex subjects such as this, as it allows me to work intuitively and fluidly.