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Nascence, original acrylic and fiber tree

$ 1,980.00 $ 1,400.00

Original acrylic painting, 24″ h x 18 ” w on 1.5″ deep wood panel.   The edges are clean sanded and sealed birch wood.

Signed and dated on back.  Ships free in the USA (or pick it up in Boston).

1 in stock


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Original acrylic painting, 24″ h x 18 ” w on 2.5″ deep wood panel.   The edges are clean sanded and sealed birch wood.

Signed and dated on back.  Ships free in the USA (or pick it up in Boston).  Please inquire about shipping to other locations – I can usually cover most of the costs.  Original paintings from my shop ship fully insured with a typical turnaround time of roughly 10 business days (less for small items).  Once they’re with the shipper, actual transit times vary by destination.


I will gladly exchange or refund work that you do not like if notified within 30 days of receipt.  Customer pays the shipping on returns and/or exchanges.  Most people like them better in person.




Prints are also available 

Print and original leasing is available through Turning Art (link takes you right to the item page, but you’ll have to sign up with them)



Original is acrylic with stiffened string and paper and metal foil details, 18 in w x 24 in h on 1.5 in deep cradled birch wood panel with sanded sides. Signed on back

Nascence is a winter treescape made with acrylic paint and media, metal foil, stiffened paper and string and retroreflective thread, along with acrylic based texture gel (coarse oxide powder embedded in clear acrylic). It is one of the works in my second series of Tree of Life Paintings.

The title refers to the character of Winter, when all of the plants and many of the animals seem to be asleep, watching and waiting for the warm weather to return. At times it feels as if there’s this tremendous energy – a potential for becoming and for renewal – balanced on the edge of a pin. But until the balance tips and tumbles into the new refreshed and energetic state, it’s perched, waiting, not quite realized, nascent.

Or in nerd terms, Winter can feel very metastable.

One of my favorite features of this painting is the metal foil in the sky, layered with zinc white and Payne’s gray paint colors. Zinc white is translucent. It doesn’t completely cover the color and metallic characteristics of the foil with a hard line (paint here, naked foil there). The effect is much softer and more blended. In areas where the white is very thin, it scatters the light reflected off the foil, creating soft glowing colors.

The paper and string features were sculpted using Golden’s GAC400 medium to stiffen and fix them into place. There is a barrier layer that matches the reflectivity of the background – acrylic soft gel and matte medium underneath a final varnish layer for UV protection. The barrier layer and varnish provide moisture resistance, structural strength and stability and archival protection for the piece. If restoration or cleaning ever becomes necessary, the outer varnish can be removed with alcohol by a professional restorer. This will not affect the underlying paint and paper (because of the barrier layer).


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