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Day 2 #19 - Limited Edition 1 of 8 Photograph

Clive Frost

United Kingdom

Photography, Digital on Paper

Size: 36 W x 27 H x 0.4 D in

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$1,160

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ABOUT THE ARTWORK

ALSO OFFERED IN A SMALLER PRINT SIZE LIMITED EDITION. 51CM X 39.5CM / 20” X 15.5" PLEASE ASK FOR CURRENTLY AVAILABLE EDITION NUMBER AND PRINT PRICE. ______________________________________________________________________________________________ These images were made on the Ashdown Forest in East Sussex during a particularly cold spell of weather in early December 2010. With average temperatures at -1˚C, five degrees below the normal, it was the coldest December in England since records began a century ago. Whilst 2010 was Britain’s 12th coldest year in records dating back to 1910 at the UK’s Met Office, newly released scientific data from NOAA (the US National Oceanic and Atmospheric Administration) shows that 2010 equalled 2005 as the Earth’s warmest year over the last 131 years. The combined global land and ocean surface temperatures were 0.62˚C above the 20th century average, 14.52˚C compared to 13.9˚C. 2010 was also the wettest year on record. ‘Forest’ is a medieval term for a hunting ground, customarily owned by the monarch, in part wooded and setting its own laws. Ashdown Forest was originally a deer hunting forest in Norman times, but over many centuries its trees have also been a source for the fuel needed in the local smelting and iron workings and for the production of timber. Its 6500 acres is now the largest free public access space in the southeast of England. The Ashdown Forest has national and international protection as an Area of Outstanding Natural Beauty. From the series and eBook 3 DAYS IN DECEMBER.

DETAILS AND DIMENSIONS
Photography:

Digital on Paper

Artist Produced Limited Edition of:

8

Size:

36 W x 27 H x 0.4 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

The writer G.K. Chesterton wrote, “True travellers let the experience of a destination come to them. The traveller sees what he sees. The tourist sees what he has come to see”. My creative approach is committed to engage with and show the world as I find it and to make images, with my own visual ideas and style, from whatever it is that I discover. I have always worked on location. Being in a studio doesn’t energise or excite me. I enjoy the quality of exploration and discovery you experience with location work, coupled with sometimes unpredictable and changing light and weather and, of course, also with the variety of people you might encounter. There’s an element of ‘flying by the seat of your pants’ that I find very addictive and, after five decades in photography, it still excites me when I find and make an image and all the unpredictability, light and weather is on my side. One of the consequences of where I was born and of my early childhood is that I have never felt that I have any real roots anywhere. As a photographer, being rootless has been a benefit to me. It has fuelled and sustained my wanderlust - travelling is when I feel most alive, most aware of the place I am in, most open to the possibility of the present. When I arrive in a new place (to me), I try to understand what the place is ‘giving’ me visually and as I start photographing an idea or approach takes shape. The type of photography that has always primarily interested me is documentary photography. If forced to put a label on myself, I describe myself as a documentary/fine art photographer. My limited edition prints have been acquired by a wide range of private Collectors. In the US - New York, California, Washington DC, Massachusetts, Illinois, Florida, New Jersey, Oklahoma, South Carolina, Texas, Connecticut, Tennessee; in Europe - the UK, Switzerland, the Netherlands, Austria, France, Malta; and in other countries around the World - Canada, New Zealand, South Africa. Further details on my personal site. I currently live on the Greek island of Tinos in the Northern Cyclades. Over the last five years, I have completed two bodies of work on the island, ‘Alternative Facts’ and ‘Rock’, that I am currently submitting to publishers as photobooks and presenting as limited edition prints.

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