Under £250

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition signed print, 59.5x84cm on excellent, smooth high quality 230gsm paper. Museum grade inks guaranteed fade proof for up to 100 years. Each print has a plain white border to allow for mounting and framing. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Limited edition Giclee signed print, 60x60cm on 310g 100% cotton paper, unframed. Edition of 10

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting. 

Alexandra’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform. 

Giclee print on Somerset Velvet 330gsm Paper, 60x60cm Edition of 25, signed and numbered, white frame.  

‘Born To Die’ realms around the cycles of life and death with the butterfly which has been traditionally use as a symbol of the soul an echoes that in some sense of life goes on even after the death of something in nature.

The work of Louise McNaught takes its inspiration from the natural world: raising the status of animals and creatures to the majestic and sublime, Louise creates bold images, using striking colour and compositional techniques.

Giclee print on Somerset Velvet 330gsm Paper, 60x60cm Edition of 50, signed and numbered, unframed

For ‘Hidden Rainbows’, Louise employs her signature ‘bleed’ motif, with soft, thin lines of blue, black and yellow paint running down the print to produce a gentle sense of dynamism and flow. The trails have been created by a large, turquoise and red winged butterfly, who dominates the print, its striking, leopard-like pattern, in blotches of inky-black, captured by McNaught with stunning intensity.

The work of Louise McNaught takes its inspiration form the natural world: raising the status of animals and creatures to the majestic and sublime, McNaught creates bold images, using striking colour and compositional techniques.

4 colour limited edition screen print 60x75cm unframed Edition of 25

The term Halcyon Days originated from a Greek Myth about the Halcyon bird. It was believed that the bird had the power to calm the waves for 14 days while brooding her eggs on her nest. These became known as the "halcyon days," when storms do not occur. Although in the myth the Halcyon Days occur in the winter, we mostly think of them now as endlessly long happy summer days, with little to worry about. The colours in this print have a faded quality, nodding back to nostalgic summer days spent on the heath.

4 colour limited edition screen print, hand finished with ink and coloured gold leaf 55x55cm unframed Edition of 25

One of my prints from the Urban Oasis series, looking at nature existing right in the heart of our cities. The High Line is a public park built on a historic freight rail line elevated above the streets on Manhattan’s West Side. I love the fact that many of the plant species that originally grew on the High Line's rail bed have been incorporated into the park's landscape. In this print there is a ruby throated hummingbird, as some of the plants attract them in the early morning hours, when there are fewer visitors and the park is at its most serene. Also shown is an American Robin, a member of the thrush family.

4 colour limited edition screen print, hand finished 55x55cm unframed Edition of 25

One of my prints from the Urban Oasis series, looking at nature existing right in the heart of our cities. Central Park in New York is an incredible haven for wildlife and provides New Yorkers with a much needed natural space in the heart of the city. I love this view from the Metropolitan Museum roof garden. We watched these red tailed hawks flying in the skies above the Met. They are well known and have been nesting on Fifth Avenue for many years.

8 colour limited edition screen print 43x43cm unframed Edition of 25

One of my prints from the Urban Oasis series, looking at nature existing right in the heart of our cities. In the London prints from this series, I am looking for nature in Zone 1. I am a complete urbanite and love the city but I grew up in the countryside and since moving to London, I have always found a high value in green spaces. Wildlife has been encouraged in recent years down at the South Bank, with rooftop gardens and exquisite planting around the brutalist architecture, which provides a stunning contrast. When visiting, it is clear to see bees, butterflies and birds being attracted.

10 colour limited edition screen print 85x57cm unframed Edition of 25

This is the print for August in the Clear Horizon series. When asked for his definition of happiness, Alfred Hitchcock replied the following:“A clear horizon, nothing to worry about on your plate. Only things that are creative and not destructive." This quote really chimed with me. I was interested in finding places in London where we can find a balance to the busy and densely urban lives we live and to create a series of prints based on that. I had the idea of creating one Clear Horizon print per month (A clear and distant view of the city) based on a timeline and a roughly circular route around London with the Shard always present in the print as a loosely central point.

10 colour limited edition screen print hand finished with gold leaf 85x50cm unframed Edition of 25

This is the print for November in the Clear Horizon series. When asked for his definition of happiness, Alfred Hitchcock replied the following:“A clear horizon, nothing to worry about on your plate. Only things that are creative and not destructive." This quote really chimed with me. I was interested in finding places in London where we can find a balance to the busy and densely urban lives we live and to create a series of prints based on that. I had the idea of creating one Clear Horizon print per month (A clear and distant view of the city) based on a timeline and a roughly circular route around London with the Shard always present in the print as a loosely central point.

10 colour limited edition screen print with pearle scent and metallic lascaux acrylics 92x52cm unframed Edition of 25

With stunning views across to Manhattan, this is a beautiful spot by the river in Williamsburg, Brooklyn with Black Skimmers flying along the river (they are the most graphically pleasing birds to draw). This was my most technically challenging print and took me three print runs to get it correct. I had to print a gradient across the bridge in one go, and it had to work perfectly with the skyline to create the impression of the length of the bridge. The image is printed with metallic and pearlescent Lascaux Acrylics, so it has a nice early evening shimmer.

10 colour limited edition screen print 85x57cm unframed Edition of 25

This print was made with reference material gathered at the time of my Clear Horizon Series, but is in addition to one of the same view at 10am, that is part of the series. I spent some time photographing from a tower in Chelsea Harbour for reference for this print. The sunrise was so beautiful and fresh that morning. I was kindly allowed access to the tower, after the original photographic spot failed due to the development of a new building blocking the view!

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

60 x 60 cm, on 310gsm Portrait Velvet Stock, Limited Edition print of 100, Signed and numbered in Pencil.

The original pieces for the prints are tiny (usually no bigger than a few centimetres), they are created using True Brit London Nail Varnish. SYRETT works closely with True Brit and not only uses their own range but also create my own colours in the lab with their technician. These are then photographed at high res to create the prints. 

SYRETT’s latest collection of works is called Magazine and each piece is named after a publications that SYRETT reads. 

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

In theory some lichens are immortal, their lives are often measured in hundreds rather than tens of years. Lichen are not individual organisms but part of a symbiotic colony of fungus and algae or cyanobacteria and researchers suspect that the fungus part does not age.

It is believed that one of the causes of ageing in animals could be related to genetic mutations building up as fertility begins to taper off or because the traits that make us reproductively successful may also be slowly killing us. If scientists can figure out how lichen and fungi get around ageing there could be huge implications for human medicine and the ageing process.

There are 17 species of Lichen in this image and 17 is known as the god number, the immortal number.

C-type print, 100x100cm, edition of 15

Plant Hunter is 6 days of photographs taken over a period of two weeks exploring the decay of a single flower. I have photographed every letter of the alphabet in a 156 images taken over 52 weeks spanning a year and a half.

It is about the various contortions and unexpected movements of the flowers in their decomposition and an observation of the varying degree and speed of this process in each flower, over time, exposing a secret world. This is the first image.

C-type print, 15x15cm, edition of 15

The central point of a Mandala is the space within which the viewer can identify themselves, in the centre of the circle is the highest deity or abstract concept. By placing a dead animal in that centre there is a possibility to shake some individuals perception of themselves and their whole, instinctively at a sub-conscious level. Something could be understood and revealed in that experience of the unfolding pattern. As the Mandala is an integral part of our collective consciousness that is shared by every person who ever lived. The varying reactions to my work make me believe that people are now so far removed from the cycles of the living world that they either fear that unknown exponentially or crave intimate knowledge of it and seek a return to a stronger connection with the natural cosmos. In some ways my work is exploring this disorder and departure from nature. I believe that our wholeness with the natural world around us is broken and by looking at the Mandala we can open our minds to what it actually means to be a human, as part of a natural environment, at this time in our history.

C-type print, 15x15cm, edition of 15

The central point of a Mandala is the space within which the viewer can identify themselves, in the centre of the circle is the highest deity or abstract concept. By placing a dead animal in that centre there is a possibility to shake some individuals perception of themselves and their whole, instinctively at a sub-conscious level. Something could be understood and revealed in that experience of the unfolding pattern. As the Mandala is an integral part of our collective consciousness that is shared by every person who ever lived. The varying reactions to my work make me believe that people are now so far removed from the cycles of the living world that they either fear that unknown exponentially or crave intimate knowledge of it and seek a return to a stronger connection with the natural cosmos. In some ways my work is exploring this disorder and departure from nature. I believe that our wholeness with the natural world around us is broken and by looking at the Mandala we can open our minds to what it actually means to be a human, as part of a natural environment, at this time in our history.