Painted on location, this captures the essence of these bare trees aglow in the cold winter light. It conveys the low aspect of the sun in the winter sky, and how it lit up the pale green lichen on the bark, and the warm red tips of the branches, using light and colour to express the life force of the trees. Moving on from my earlier transcendent series of large studio based paintings, this is part of the new down to earth series, which reconnects with the natural world through direct observation. This return to realism and impressionism brings tangible vigour and freshness to the work; the physical experience of painting whilst immersed in nature is conveyed through the expressive brushwork.

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This painting was created in response to the first fresh snowfall of 2026, and how it made the woodland sparkle in the clear winter sunlight, with the sun at a very low aspect. I have tried to convey the feeling of tingling coldness, and the stark contrasts and deep shadows, and how some of the trees were glowing golden in the sun. It was a breathtaking afternoon. I finished the painting in the studio so I could add in detail that wasn't possible in the outdoors, due to the cold.

I painted the watermeadows en plain air to capture the light of the late afternoon winter sun, shortly before dusk, when the trees and hedgerows shone golden in the sun's rays, particularly the gnarled old oak. That day, the first snowfall of the year was melting, and the remaining patches of snow on the grass added to the patchwork of light and colour and high contrast. This is the first in a series of oil paintings, using oil specifically to optimise the luminosity of my work, with light a metaphor. The very small scale is new to me, and something I'm exploring as a way to create a sense of intimacy.