Mosswood Reverie
€56.00
Formaat: 40 x 30 cm / 16 x 12″
Omlijsting: No Frame
“Mosswood Reverie” is an abstract glimpse of a mossy woodland reflected in still water, suspended somewhere between memory and myth. Layers of soft greens, muted earth tones and veils of light suggest trunks, undergrowth and ripples without ever fully fixing them in place, inviting the eye to wander and decide what it is seeing.
It sits comfortably in both clean, modern interiors and more earthy, layered spaces. It is designed to live with, not just to glance at, a quiet work that rewards slow looking and brings a touch of woodland stillness indoors.
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If your order arrives damaged, don’t worry. Just send me a clear photo of the damage, along with the barcode and the packaging, and I’ll arrange a free replacement right away.
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About the Artist
Hello, I’m Lucy, an abstract artist on the west coast of Ireland, tucked between Atlantic weather and fields that never quite sit still. Most days I’m chasing that in‑between feeling, the way light hits a wet road, or how a hedge dissolves into colour when you’re not looking straight at it.
I work mostly in acrylic on canvas, building up thin, transparent layers and scraping parts back so older marks re‑appear. It ends up a bit like a controlled car crash of colour and texture: countryside greens, stormy blues, wildflower pinks, all arguing and then somehow settling down together.
I originally studied graphic, product and furniture design, so composition and form are always in the back of my mind, even when the painting looks wild on the surface. I’m self‑taught as a painter in the practical sense, a lot of quiet trial and error, a lot of “what happens if I do this?” and being willing to live with the mess until it turns into something that feels honest.
I work mostly in acrylic on canvas, building up thin, transparent layers and scraping parts back so older marks re‑appear. It ends up a bit like a controlled car crash of colour and texture: countryside greens, stormy blues, wildflower pinks, all arguing and then somehow settling down together.
I originally studied graphic, product and furniture design, so composition and form are always in the back of my mind, even when the painting looks wild on the surface. I’m self‑taught as a painter in the practical sense, a lot of quiet trial and error, a lot of “what happens if I do this?” and being willing to live with the mess until it turns into something that feels honest.
