I hope you enjoy looking through my work!
If you would like a private view or to buy a piece of my work, please contact me via email me: Clare@thejollyrogers.co.uk
or contact me via the social media links below.
Please note that all my artwork is subject to Copyright and permission must be asked to use it.
Facebook: ClareRogersArtist BlueSky: @clarerogersartist.bsky.social Instagram/Threads: clare_rogers2
I've been working on prints that combine monotype printmaking with drawing.
These are largely inspired by Dartmoor and feature landscapes and trees.
The monotype process involves building up layers of oil based ink onto the printing plate to create the desired background for my final image.
The print is then made on my printing press. Once dry, a drawn layer is added, either with ink pen or pencil.
My botanical drawings continue as a way to get to know a tree and it's structure & form. I have an ever growing pile of images of ancient and notable trees.
The Oak at Meavy and The Olive Tree of Vouves, Crete are just two I will be starting shortly.
'Heartwood' 1
Monotype and pencil drawing
41 x 47cm framed
£215
'This Leafless World ' 3
Monotype & Drawing
47 x 41cm
RESERVED
'The Oak at the Gates of the Dead'
Monotype and Drawing
47 x 41cm framed
£215
This ancient oak tree is on Offa's Dyke at Chirk near Wrexham and is named after the remains of a bloody battle in 1165, when Welsh forces ambushed an invading English army in the Battle of Crogen. The dead were buried nearby.
'This Leafless World' 4
Monotype and Drawing
47 x 41cm
SOLD
'This Leafless World' 1
Monotype
47 x 41cm framed
SOLD
'This Leafless World' 2
Monotype
47 x 41cm
£215
Spirit of the Woods 2
29 x 29cm framed
Monotype and drawing
SOLD
Spirit of the Woods 3
28 x 28cm
Monotype and drawing
£115
Spirit of the Woods 4
28 x 28cm
Monotype and drawing
£75 unframed
Caught in the Rain 4
Monotype
47 x 41cm framed
£195
NEWS
I am truly saddened to hear that the Lucombe Oak in Widey Woods has fallen due to high winds (August 2024).
Estimated to be approximately 250-300 years old, this magnificent tree has been a much loved and notable specimen, with its tangled, twisting branches and great height.
As it was still live when it fell, it is hoped that it might regrow. At the very least it will still host hundreds of other living organisms as it slowly dies.
A series of four monotypes on the theme of Dartmoor in the rain.
Returning to the palette of grey, sepia, ochre and white, these monotypes have been worked in three layers to create a landscape of wide open spaces.
I had become aware that in cultivating my monotype printmaking and botanical drawing, the two processes had become quite separate entities. Therefore, I made a conscious move towards incorporating the monotype background with a hand drawn element worked over the top.
Using a beautifully white Japanese Hosho paper helped keep the light area bright, allowing the monotype ink to remain moody and dark.
The smooth finish of the paper was a lovely quality to draw onto with the ink pen.
I Hear it on the Wind 2
Monotype & Drawing
41 x 4 cm unframed
£145
Two studies of the same tree.
A beautiful old beech tree on the Maristow Estate near Lopwell Dam.
Beech at Maristow
Drawing 40 x 29cm
Graphite on Paper
£285 framed
Silence Speak of Moor and Time #2
Monotype
47 x 41cm unframed
£145
Beech at Maristow 2
Drawing 27 x 36cm
Graphite on Paper
£265 unframed
Looking towards Dartmoor for inspirartion when the sunlight seeps through the trees or the mist descends and the light is poor.
These are not exact scenes from the Dartmoor landscape, but a combination of elements from different parts of the moor.
The monotypes have been printed on an archival tissue paper.
Sunlight through the Trees, Bellever
Drawing 21 x 25cm
Graphite on paper
£55 unframed
Immersion #2
Monotype
Framed 47 x 41cm
£165
Oak Tree, Ham Woods
Drawing 32 x 40cm
Graphite on Paper
£225 unframed
I'm delighted that my ink drawing of the Lucombe Oak is the cover for Katharine Tower's latest book of poetry, titled 'Oak' published in November 2021.
It's been wonderful to find a kindrid spirit in Katharine and our mutal love of trees combines her beautiful poetry and my drawing perfectly.
Lucombe Oak, Widey Woods
Drawing 29.7 x 42cm
Graphite on paper
£225 unframed
Two images of the same tree, The Lucombe Oak, in Widey Woods.
The tree is a magnificent example of o mature, maiden oak. It's structure and form can be seen more clearly in the winter months, with its wonderfully twisted branches reaching up into the sky.
The one on the left is in pencil, the one on the right in ink pen.
Lucombe Oak, Widey Woods
Drawing 13 x 17cm
Ink on paper
SOLD
The Widey Oak, Widey Woods
Drawing 11 x 15cm
Ink on paper
£35 unframed
During the pandemic in 2020, I re-discovered local woods. The value of walks in nature, for both physical and mental health, was highlighted and after several visits I began drawings based on the beautiful trees in Widey Woods and Ham Woods Nature Reserve.
I subsequent months, I began to research ancient trees from further afield, including the Darley Oak in Cornwall.
I spent time thinking about my drawing techniques, particularly how they had changed over many years.
It was clear that my interest in botanical drawing was still keen, but I needed to keep practising. I used Suzanne Brooker's book 'Essential Techniques of Landscape Drawing', which gave me great help in observing nature, specifically trees.
My style of drawing began to loosen up , with a better focus on mark making for my botanical drawings. Also, I started to observe the form of a tree and became interested in their architectural structures.
The Darley Oak
Drawing 18 x 19cm
Ink on paper
£35 unframed
Winter Morning Light #4
47 x 41cm framed
£165
Following on from the 'Light and Half Light' series of monotype prints, I experimented with ghost prints.
Having made one print, I would leave the residual ink on the plate, place another sheet of paper over the top of the plate and print another image. By increasing the pressure on my press, the remainder of the ink would be transferred to the paper, creating a ghostly form of the original print.
Sometimes the ghost prints offer a greater sense of the winter landscape, particulalry compared to the original print.
Winter light in the landscape has a beautiful ethereal quality.
The mists sit quietly as the sun sets, blending the ochre and grey colours, creating peacefullness, suggesting a resting earth.
This monotype was worked in three layers, with a final fourth layer drawn onto the reverse of the print, creating the drawing of the hawthorn tree.
Light and Half Light #1
47 x 41cm framed
£165
A B O U T M E
Clare Rogers BA (Hons)
Drawing has always been an innate part of me. As a child, I was always observing and making marks, conjuring up images from my imagination, and later, reproducing a likeness of anything that caught my eye, especially natural objects.
Still-life and landscape drawing has developed into a lifelong passion, running alongside a recurrent compulsion for collecting botanical ephemera.
Originally training and working as a graphic designer but, after gaining a BA Hons in Fine Art in 2011, my focus turned to developing my art practice to include printmaking, drawing and handmade artist books.
Landscapes are a constant. The flow of open spaces, particularly moorland, lead the eye through form, texture and light. The scenery, punctuated by rocky tors, filigree trees, bendy hawthorns and lone conifers, offer contrasts between subtle, gentle mists and brooding, deep, atmospheric conditions.
The monotype process is a flexible one. Adding and removing ink and manipulating textures on the plate offers a painterly response and building up individual layers on each unique print generates unplanned outcomes. Recent use of Japanese Awagami papers has added an ethereal quality to some prints, with a greater focus on light and transparency.
A viewer’s sense of their own space within the landscape is important. Wandering through these vistas, the viewer can be drawn into ‘other places’, sensing the familiar, yet illusive nature of memory and belonging.
In recent years, my drawing practice has featured many trees from ancient woods which have become a natural addition to my monotypes. The contrast between more botanical drawings and the fluid, sketchy features of the trees in my monotypes has been an exciting development.
Over the last ten years I have exhibited nationally and internationally with both my printmaking and handmade artist books. I frequently enjoy exhibiting with the Dartmoor Collective, the Drawn to the Valley Artists Group in the Tamar Valley, and, in 2021 took part in the Awagami Mini Print Fair in Japan and at Ironbridge Fine Arts & Framing in 2022.
Clare Rogers CV
2024 Dartmoor Collective Annual Exhibition, Cafe Momus, Plymouth. Prints and drawings.
2024 Drawn to the Valley Open Studios, Plymouth. Prints, drawings, handmade artists books & cards.
2024 Drawn to the Valley Summer Exhibition, Butcher's Hall, Tavistock. Prints.
2024 England is a Forest Exhibition, Small Works Gallery, Sluice, Colchester. Drawing.
2024 Drawn to Print Exhibition, Plymouth. Prints, drawings, handmade artist books.
2023 Useful Drawings, The Big Draw. Drawing.
2023 Landulph Arts Festival, Cornwall. Prints.
2023 Ironbridge Fine Arts Open Exhibition, Ironbridge, Shropshire. Prints.
2023 Dartmoor Collective Annual Exhibition, Poltimore House, Exeter. Prints.
2023 Drawn to the Valley Open Studios Ocean Studios, Plymouth. Prints, drawings, hand-made artist books & cards.
2022 Dartmoor Collective 'Linear' Zine. Prints.
2022 Christmas Open Studio, Plymouth. Prints, drawings, demonstrations and cards.
2022 Drawn to the Valley Artist Group Exhibition, Cotehele, Cornwall. Prints and Drawings
2022 Dartmoor Collective Annual Exhibition, Poltimore House, Exeter. Prints
2022 Drawn to the Valley Artist Group Annual Exhibition, Tavistock. Prints and cards
2022 Drawn to the Valley Artist Group Print Exhibition, Ocean Studios, Plymouth. Prints and cards.
2022 Ironbridge Fine Arts & Framing, Shropshire. Prints
2021 Awagami Mini Print Exhibition, Tokushima, Japan. Prints.
2021 Drawn to the Valley Open Studios. Prints, drawings, hand-made artist books, demonstrations & cards.
2021 Drawn to the Valley Artist Group Annual Exhibition, Tavistock. Prints and cards.
2021 Resurgam Exhibition, Drawn to the Valley Artist Group. Prints and cards.
2021 Lockdown Love Online Exhibition, Drawn to the Valley Artist Group. Prints and cards.
2020 Dartmoor Collective 'A Worked Landscape' Zine. Photography.
2020 Drawn to the Valley Artist Group Annual Exhibition, Tavistock. Prints and cards.
2020 Drawn to the Valley Artist Group Exhibition. (Online). Prints
2020 Positivity Exhibition. The Printery, Plymouth. Prints
2020 Plymouth Art Exhibition. (Online). Prints
2019 Drawn to the Valley Artist Group Winter Exhibition. Tamar Valley Centre, Drakewalls. Prints
2019 Drawn to the Valley Open Studios. Prints, drawings, hand-made artist books, cards.
2019 Devon Artist Network Spring Exhibition. Harbour House, Kingsbridge. Prints
2019 Drawn to the Valley Spring Exhibition. Tamar Valley Centre, Drakewalls. Prints
2018 Autumnal Changes Exhibition. Harbour House Gallery, Kingsbridge. Prints.
2018 Devon Artist Network Spring Exhibition. Harbour House Gallery, Kingsbridge. Prints.
2017 Self Portrait Exhibition. Harbour House Gallery, Kingsbridge. Prints.
2017 Devon Artist Network Exhibition. The Clay Factory, Ivybridge. Prints.
2016 Transfer 3 Collaborative Exhibition. Devonport Live, Plymouth. Drawings.
2013 In Five Minutes. The Art House Co-op, Brooklyn Achives, NY. Drawings.
2013 The Gathering Collaborative Exhibition. The Pipe Gallery, Plymouth. Drawings and hand-made books.
2012 The Sketchbook Project. Brooklyn Art Library, NY. Sketchbook.
2012 From here you can almost see the sea. Solo Exhibition, Bank Street Arts, Sheffield. Drawings and hand-made books.
2012 Open Exhibition. Front Room Gallery, Plymouth. Drawings.
2011 First Class Hons Degree Fine Art. Plymouth University.
1986 HND Graphic Design. Plymouth College of Art.
F O U N D A R T
I enjoy observing objects, spaces, textures, colours and shapes. I take many photographs which I sometimes crop and occasionally manipulate.
These images often end up as inspiration for my printmaking and drawing.
