Fiona Fouhy | Places of Inbetweenness

15 September - 1 October 2023
  • Eames Fine Art Print Room 159 Bermondsey Street London SE1 3UW 'Continuing my fascination with trees and forests for the...
    'Vapour', 2023, monotype on Somerset satin 300gsm paper.

    Eames Fine Art Print Room

    159 Bermondsey Street 

    London SE1 3UW


    "Continuing my fascination with trees and forests for the past five years, I’ve recently gravitated towards a specific biome - that of the rare temperate rainforests of the UK. On past visits to Devon, Cornwall and North Wales I’ve experienced their soft, surreal interiors without realising that this is temperate rainforest.

    Robert Macfarlane writes, ‘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’.

    Landscapes and forests such as these enable the mind to have freer reign, encouraging inventiveness and unfettered creative thought. I delve into these forests, using monoprinting techniques and experimental ink markings that work to animate the imagination and excite personal insights, both in my own mind and hopefully also that of the viewer. There is still plenty for me to explore in this forest and other temperate rainforests along the west coast and this body of work shown feels like the beginning of a journey."


    - Fiona Fouhy (2023)

  • "My large triptych has come out of a recent visit to ‘Puzzlewood’, which is a rare geological phenomenon within the Forest of Dean. Though carpeted with moss and epiphitic ferns, I’m not sure if it is officially classified as temperate rainforest as these are usually nearer to the Atlantic, requiring ‘hyperoceanic’ conditions for mosses, lichens and liverworts to exist.
    However I was drawn to Puzzlewood because of its distinctive steep rock formations, known as Scowles, which were naturally formed through the tectonic uplifting of ancient underground caves which were then exposed and eroded naturally over millions of years. Today these steep, moss-covered hollows and recesses are full of mystical atmosphere, conjuring unearthly presences to mind."
  • "I have been working quite organically in my print process, using faded ink ghosts of older prints in which to find new forms, some of which were interestingly quite like interiors of temperate rain forest, with moss-covered boulders.


    I had also begun experimenting with using wetter, looser ink - that of Indian drawing ink - to start off my pieces and then gradually adding layers of monotypes on top of the drawings. The forms created by the Indian ink as it settles and dries are reminiscent of freckled lichen or mottled sea spray."

  • Noiseless Opulence 2023 Monotype and Indian ink on Somerset satin 300gsm paper Signed and titled in pencil A unique work...

    Noiseless Opulence



    Monotype and Indian ink on Somerset satin 300gsm paper

    Signed and titled in pencil

    A unique work






     "As an exercise in observing composition, I have recently made a few studies of Sally Mann’s photograph ‘Georgia, Untitled (Kudza)’ (1996), a semi abstract piece that continually fascinates me with its overabundant leaf coverage. In her semi autobiographical book ‘Hold Still’ she occasionally reveals her creative processes.


    She writes that she finds herself praying ‘for the angel of uncertainty’ to visit her and ‘bestow upon (her work) essential peculiarities, persuasive consequence, intrigue, drama and allegory’. I certainly find myself with my fingers crossed as I run my plates through the press, hoping for happy accidents and unexpected collisions to have occurred in the process.

    Mann’s landscapes to me are portals into the past or other presences - past presences in the landscape, allowing the slippages of light leaks or literal chemical missteps to produce otherworldly effects and imply other presences. Rather than describing a place visually with my print and drawing techniques, I am wanting to evoke the spirit of a place, the physical feeling of a place and the place as portal."


    "On hearing Scottish national poet Kathleen Jamie read her new poem ‘The Green Room’ on Radio 3 in May (as part of a program on the Secrets of the Scottish Rainforest) I was entranced by the voice that she gives to Water in her piece. The Green Room acknowledges the central function of water (ie rain) within this rare environment, voicing its ancient cyclical journey from swamp, to ice, river, mist, droplet, pool, bog, within tree root, trunk, branch, leaf …. and out to ‘oak breath’. Her vivid visualisation of the moss and lichen makes you want to see and touch the drenched moss.


    For a while I’ve felt that I want to embrace the wet weather that we often live with here on this island. One way that I’ve done that in the past ten years is through taking pleasure in our bi-annual fungi seasons, appreciating that the fruiting bodies of fungi appear only after it has rained. I also come from a family of gardeners and environmentalists who have instilled in me an affection for drizzle."

  • Fairy/Faie/Fata (Fate) A series of 84 monotypes on paper Each signed in pencil verso 100 x 65 mm (each) £50.00...

    Fairy/Faie/Fata (Fate)


    A series of 84 monotypes on paper

    Each signed in pencil verso

    100 x 65 mm (each)


    £50.00 (each)


    "Coprinellus disseminatus are commonly known as ‘Fairy Inkcaps’. The word ‘Fairy’ comes from the Middle English word ‘Faie’, which in turn comes from the Latin ‘Fāta’, meaning ‘Fate’. 


    Fruiting bodies of fungi (mushrooms/toadstools) are fleeting - they come up and live for a short time before either dying or being eaten by mammals, molluscs or insects. Their life cycle is a speeded up version of our own fate."


    - Fiona Fouhy, 2023

  • At a glance in the Print Room | Fiona Fouhy