A Postcard From the Barn-November 2025

Su France
6 days ago
4 min read

Updated: 5 days ago

November in Lincolnshire: Beauty in Austerity

November has arrived here in Lincolnshire in whispers of silver and ash, the world stripped back to its essential bones. Yet against this palette of grey mornings and frost-etched afternoons, nature offers its defiant punctuation: the vivid scarlet of rosehips clustered along bare stems, the deep crimson beads of hawthorn berries glowing like embers in our hedgerows.

It's the season for remembering my Swedish mittens on walks, for stepping out into our field and garden transformed by frost into something otherworldly—the skeletal architecture of the last carrot flower stems turned to crystalline lace, each seed head rendered precious by ice. There is a beauty in November's austerity, a invitation to see what remains with fresh eyes.

A Curated Collection

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in this postcard:

new ltd edition print
Ropewalk Christmas Market
a Welsh Original Hideaway
a beverley Gallery trip
Woolwich reflections
blog update- gelli resources

I was asked to create a print similar to my popular collected print entitled 'Collected' but in a monochrome palette, so here it is! A black and white ceramic celebration!

This is an A3 limited edition Gicleé print, printed on archival paper and it is signed, titled and a logo added by me!

My Time At Woolwich, showing how I use my Gunning Etching Press

Woolwich Contemporary Print Fair: Process and Philosophy

Demonstrating a Gunning etching press in a gallery space reveals thejoyof printmaking—the roller, the pressure, the reveal. At Woolwich Contemporary Print Fair, I found myself in conversations that ranged from the deeply technical, to the quietly philosophical.

People were curious, drawn in by the physicality of the process, asking about pressure settings and plate preparation, but also lingering to talk about minimalism, abstraction, wabi-sabi—the beauty in imperfection. What struck me most was how often visitors found their own words for what my work offered and I was really heartened when anyone used my words too: grounded, calming, meaningful. They saw the connection to place and nature without me needing to point it out, as if the prints themselves told them their origins.

Jenny Gunning's new book was there too, a treasure—a comprehensive walk-through of printmaking techniques paired with inspiring imagery, the kind of resource that makes you want to rush back to the studio immediately. I was honorured to have a first look with a rightly excited Jenny by my side. Its amazing!

The real perk of the job, was that early morning access before the public arrived: wandering the gallery in near-silence, getting close-up views and stepping back for distance shots, my mind capturing everything like a memory photo album.

I was drawn to Tamsin's work—a diaristic land archive created alongside a regenerative farming project on a 34-acre site in Devon, paying attention to our unseen relationship to nature. The kinship was immediate; we share similar inspirations, that pull toward knowledge gathering and experimentation.

Marco Poma Jifeng's piece held me too—the scale and subject matter, yes, but mostly the storm-like energy of the mark-making, expressive gestures translated to paper with such force.

I thought you might like a peek at other views which caught out attention too...

London Wanderings: Cornelissen and the Thames

After the days of demonstrating, we walked the area nearby, letting London unfold at its own pace.

My first visit to Cornelissen felt like stepping into a sweetie shop designed specifically for

artists—especially those of us who appreciate antique milk-painted drawers and the kind of old-world craftsmanship that makes you pause. I showed restraint: just indigo powder and pink clay. But the colours made an impression, the way they always do, each pigment holding centuries of use and meaning.

Near the Thames, we found an old door, half-buried and weathered, and for a moment contemplated a moonlit mudlark mission to rescue it, imagining it repurposed in our home. But some things are best left where they are, I decided (and I'm too law abiding / it would disintegrate anyway)—vintage, belonging to the river, part of the slow archaeology of the city.

New Work: A Landscape in Three Lines

I've just completed my largest piece to date—though it won't hold that title for long. I recently received a really exciting commission, but more on that when I'm able to share.

This piece has been slow work, deliberate. Three lines that describe some of the landscape I call home. I feel they do it successfully—capture something true about this place. The first person who saw it, aside from my husband, told me they could feel their heart rate slowing just looking at it. That made me so happy.

You can see this warm burnt umber palette with pink is till on my mind as my recent Komorebi prints still show.

They have sold well and I enjoy that people gain a calming response to the small, semi abstract scenes.

Events

I am thrilled to show you my work in the most beautiful of settings and there's information about a beautiful retreat offering some friends of mine are running. ... Read on here