About the prints.

I am adding very slowly new prints to the print shop online. I make these myself in the studio using good archival inks and papers.

It's a process I like to do and I try to get the prints to show the qualities of the original work. The watercolours suit the process well, particularly when on this good heavy paper. Sometimes these type of prints, known as ‘giclee’ or ‘inkjet’ are talked about as something perhaps inferior.  There is plenty about this online but the fact is that the quality of printers, inks, and papers and 'know how' is now so good that this is probably the most faithful way of printing work that has ever existed. The archival qualities are also now very good.
It is also worth noting that  that in the world of photography which of course is still a main part of the practice, the inkjet prints are absolutely the accepted standard now. Of course platinum prints and C types still have their qualities and unique capacities to deliver an image, but for faithful, archival and seductive reproduction.. give me giclee every time.. 

This is a print of an original work that has scanned or photographed to the highest standard. Not everything works well as a print, but having a long history of making prints with my photography, it seems sensible to make limited prints of a few selected works. Price is also a thing of course. I like selling work… I like people to have it, and with the print shop we can make things of high quality that I hope look good on the wall.
This picture itself is an imagining of the estuary where I live; what it’s like perhaps, what it was, what it might become even. I make these with the idea of conveying what could be called 'direct experience', intentionally something elusive, where I try to show the first building blocks of what it might be like to see a landscape for the first time, using the simplest brush gesture to describe basic motifs of landscape; land, sky, water, tree and horizon with all the tones, compositions and relationships within.

Davina Barber has large Watercolours 

Please contact Davina Barber if you would like to discuss the watercolours large medium and small

The Goose Beck. An Occasional Stream through our Village

Spring ‘24

There is a stream that is currently running right through Burnham Market where we live. It’s called the Goose Beck which is thought to have come from ‘Ghost Beck’ on account of the way it flows and then drys up, independent of local rain. We all think it has a life of it’s own… certainly at night. Here it is lit by a full moon.
Burnham Market is notorious for various negaitive things about visitors but of course there is masses more to it all... layers of good stuff too. But this phenomenon of the stream is the business end of what makes it a unique place to be.. and nicely way way out of our control... we hope. 

There is a slow motion video of the moonlight on the water on my @harrycorywright instagram page 

Pictures of Pairs

March ‘24

You may have seen the albums Vision of an Estuary (here on the site) and this is an extension of the idea where a photograph sits beside a watercolour or perhaps a drawing beside a relief. As you can see there is a slight angle to the two pictures that is intended to echo the double page spread of a book... a gutter. The idea is that one starts a dialogue with the other. What interests me is how one becomes the ‘caption’ to the other and for some reason this takes away the need for things like location and general info about either one or the other. The eye just wants to find some common ground or perhaps even the opposite.  There is more about this on the Visision of an Estuary page. This is an ongoing and developing idea this and I will continue to pursue. But wordlessness is a strong factor. These two images together work as a picture on the wall, but is perhaps stronger in book format where the relationshiop is also to do with the pages before and after. On the wall there is a singleular intensity to the that particular framed pair. I will update here when I get to the next stage. 

The Studio

Spring 24

Mostly I work on the reliefs here and the small pieces that I make for the Vision of an Estuary series, but these reliefs are increasingly including photographs and drawing or painting marks, so it’s safe to say that the place is some sort of visual representation of the landscape around here overall... not directly intentional I have to say and I am always surprised how it looks when I walk in and how the space has begun to look like the way I would like to represent landscape generally.... a multitude of single experience inverted into a single space.