Glyn Davies Photo Gallery
"Then Came Autumn"
"Then Came Autumn"
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Nominated in 10th (2017) International Colour Awards (Nude category)
“It was dusk and a gentle mist hung in the valleys, illuminated only by the last glimmer of Autumnal daylight. There was delicate moisture in the air and a slight dampness on the short grass surrounding the rock. Rich, earthy smells surrounded me, from the bracken and ancient woodland adjacent to the outcrop. Above the sound of a gurgling brook I could hear a thrush singing somewhere in the distance. Apart from that there was relative silence; no cars, no planes, no groups of chatty ‘ramblers on a mission’, just me in what felt like a lost valley. I was alone and had found perfect solitude.
I enjoyed the feeling of the cool, almost prickly, sheep-mown grass on the soles of my feet, but the rock was warm having basked during a day of unbroken sunshine under clear blue skies. Although the rocky outcrop looked smooth from a distance it was rough beneath my skin, making my body feel vulnerable to its sharp surface. I enjoyed the sensation nevertheless, feeling utterly and intimately connected to ‘my’ rock, a rock carved by glaciers millions of years ago, scratched and smoothed by the weight of ice, but today it was just me, an insignificant speck on the planet. Yet the planet means everything to me; I feel it, see it, and hear it. It provides for me, nourishes me and I am a part of it nevertheless.
As the melody of the Song Thrush drifted away, I lay relaxed, supine, as much of my skin surface in contact with the rock as I could manage, facing the darkening universe above. The rock supported me, it seemed as if the Earth itself was carrying me, a fragile, perishable organic figure, exposed to the air and the elements but wonderfully connected to the land"
Print Info - An important read
Print Info - An important read
NB - COPYRIGHT WATERMARK DOES NOT APPEAR IN FINAL PRINT
ABOUT THE PRINTS:
Glyn's prints are all produced on soft-textured, archival cotton-rag paper, using archival pigment inks. The manufacturer's estimated lifespan for these prints is over 200 years when behind glass & viewed under artificial lighting.
Each print is signed & titled by the artist, and the editioned prints are obviously numbered as well. Glyn limit's his print editions to short quantities, so you are purchasing much rarer artworks than the mass-produced prints seen in furniture & home stores.
Editions range from 3 to 30 copies in the A2 & A1 size, and just 5 copies in the A0 size.
PRINT SIZES:
Prints and editions are available as follows
All prints have a border.
A5 Archival, signed prints are 6x4" on A5 sheets
A4 Archival, signed prints are 9"x 6" on A4 sheets
A3 Archival, signed prints are 15" x 10" on A3 or Super A3 sheets
A2 Archival, signed, numbered EDITION prints are 21" x 14", printed on A2 sheets
A1 Archival, signed, numbered EDITION prints are 28.5" x 19" printed on roll paper
A0 Archival, signed, numbered EDITION prints are 45" x 30" printed on roll paper
PACKAGING:
A4 prints are placed inside an archival protective sleeve and sent flat-packed.
A3 prints and larger will be placed within an archival protective polyester sleeve and then rolled, placed in one postal tube, which is then placed inside a second postal tube to try and ensure maximum safety during transit. Prints have been shipped to the EU, USA and Australia without any issues so far.
