A series exploring glacial extinction and the effect of climate change on our lives.
Copying pencil on paper, 1600mm x 1000mm
Copying pencil on paper, 1600mm x 1000mm
Copying pencil on paper, 1600mm x 1600mm
The Aral Sea was the fourth largest lake in the world, lying between Kazakhstan and Uzbekistan. It began shrinking in the 1960s and had largely dried up by the 2010s due to the rivers that fed it being diverted by Soviet irrigation projects. The shrinking of the Aral sea is one of the most recent examples of ecosystem collapse and has been called one of the worlds worst environmental disasters.
This series of screen prints plot that journey from bountiful sea to arid desert as a consequence of feeding our growing population. We are past the point of idealism, and we can’t use art to urge any action. My motivation is to find some kind of beauty in this transition.
The prints come in 3 editioned colourways, Burnt Sienna, Ultramarine and Deep Green. There are an additional 100 gradient screen prints that fade between the editioned colours. The gradient process gradually introduces a new colour so each print is different and will have a varying amount of colour fluctuation.
The screenprints can be orientated in either a landscape or portrait position, and will be signed accordingly.
Contact me marcus@marcusjames.co.uk for further details.
Edition of 10, 1000mm x 700mm, £450 unframed
Edition of 25, 1000mm x 700mm, £450 unframed
Edition of 10, 1000mm x 700mm, £450 unframed
No.2 1000mm x 700mm, £450 unframed
No.7 1000mm x 700mm, £450 unframed
No.16 1000mm x 700mm, £450 unframed
No.18 1000mm x 700mm, £450 unframed
No.21 1000mm x 700mm, £450 unframed
No.22 1000mm x 700mm, £450 unframed
No.23 1000mm x 700mm, £450 unframed
No.27 1000mm x 700mm, £450 unframed
No.28 1000mm x 700mm, £450 unframed
No.29 1000mm x 700mm, £450 unframed
No.30 1000mm x 700mm, £450 unframed
No.38 1000mm x 700mm, £450 unframed
No.42 1000mm x 700mm, £450 unframed
No.43 1000mm x 700mm, £450 unframed
No.50 1000mm x 700mm, £450 unframed
No.56 1000mm x 700mm, £450 unframed
No.58 1000mm x 700mm, £450 unframed
No.59 1000mm x 700mm, £450 unframed
No.61 1000mm x 700mm, £450 unframed
No.63 1000mm x 700mm, £450 unframed
No.64 1000mm x 700mm, £450 unframed
No.66 1000mm x 700mm, £450 unframed
No.68 1000mm x 700mm, £450 unframed
No.71 1000mm x 700mm, £450 unframed
No.72 1000mm x 700mm, £450 unframed
No.76 1000mm x 700mm, £450 unframed
No.81 1000mm x 700mm, £450 unframed
No.83 1000mm x 700mm, £450 unframed
No.88 1000mm x 700mm, £450 unframed
No.92 1000mm x 700mm, £450 unframed
No.97 1000mm x 700mm, £450 unframed
Transitions Part II is the second in a series of pen and ink drawings exploring the artificial and mechanical nature of the drawing process, to create an expressive facsimile exploring specific geographical and environmental phenomena.
Landscape painting was traditionally used a discipline to show reverence to the gods. There has been shift in our relationship to landscape, humans have caused unequivocal damage, and that relationship needs to be re-examined. ‘Transitions’ is a series of drawings that aims to represent this state of flux.
The drawings are akin to a reverse mechanization of a dot matrix printer. They start off with a circle at one end of the paper and make a journey to the other, then repeat. The spacing between every circle and their fluctuations in shape have nuance and when repeated on a large scale their effect becomes more dramatic. The result is a unique human repetition.
52.005213, -9.736032 2019, ink on paper, 1500mm x 1500mm
52.005586, -9.740718 2019, ink on paper, 1500mm x 1500mm
This set of drawings are of Carauntoohil, the highest peak in Ireland. Its a sacred place and it has spectacular peaks and dramatic ridges. I wanted to capture this with the appearance of something quick and fluid like a painting but with the considered process of drawing. The aim was to create a fluidity of line and a weight to the composition.
51.996520, -9.732669 2018, ink on paper, 1500mm x 1500mm
52.004132, -9.724186 2018, ink on paper, 1500mm x 1500mm
52.006680, -9.746580 2018, ink on paper, 1500mm x 1500mm
52.003764, -9.766685 2019, ink on paper, 1016mm x 1372mm
51.995156, -9.736361 2019, ink on paper, 750mm x 750mm
51.997035, -9.730454 2019, ink on paper, 750mm x 750mm
51.995508, -9.749451 2019, ink on paper, 750mm x 750mm
51.995156, -9.736361 2019, ink on paper, 750mm x 750mm
52.001072, -9.737145 2019, ink on paper, 560mm x 560mm
51.996587, -9.763749 2019, ink on paper, 560mm x 560mm
52.001922, -9.738294 2019, ink on paper, 560mm x 560mm
52.017263, -9.791976 2019, ink on paper, 560mm x 560mm
51.995591, -9.730390 2019, ink on paper, 560mm x 560mm
51.998879, -9.732560 2019, ink on paper, 560mm x 560mm
52.009936, -9.716460 2019, ink on paper, 560mm x 560mm
51.993825, -9.734777 2019, ink on paper, 560mm x 560mm
52.002297, -9.746722 2019, ink on paper, 560mm x 560mm
52.005332, -9.735264 2019, ink on paper, 560mm x 560mm
51.999782, -9.766182 2019, ink on paper, 560mm x 560mm
52.005566, -9.737249 2019, ink on paper, 560mm x 560mm
51.995679, -9.732803 2019, ink on paper, 560mm x 560mm
Pine Island Glacier I 2019, ink on paper, 1016mm x 1372mm
A glacier is a persistent body of dense ice that is constantly moving under its own weight, it forms from a constant thawing and freezing of fallen snow over many years, often centuries. Glaciers slowly deform and flow due to stresses induced by their weight, creating crevasses, waves and other distinguishing features. This series of glacial drawings are visual representations of these natural phenomena. The drawing process is incredibly slow, it starts off serene and builds to a crescendo.
Pine Island Glacier II 2019, ink on paper, 1016mm x 1372mm
Pine Island Glacier detail IV 2019, ink on paper, 560mm x 560mm
Pine Island Glacier detail III 2019, ink on paper, 560mm x 560mm
Pine Island Glacier detail I 2019, ink on paper, 560mm x 560mm
Pine Island Glacier detail II 2019, ink on paper, 560mm x 560mm
Larsen separation I 2019, ink on paper, 838mm x 1143mm
The reference for these drawings comes from readily available Satellite imagery. I draw one single line that most expresses the lie of the land and that is the only time that I reference the image. From then on the drawing grows organically and can often bear little resemblance to the original. In both the drawings and the original images it is difficult to tell whether it is on a macro or micro scale. As of 2017 Larsen C is the largest Ice shelf in Antarctica. These drawings are abstract visual descriptions of its journey though separation.
Larsen separation II 2019, ink on paper, 838mm x 1143mm
Larsen separation III 2019, ink on paper, 838mm x 1143mm
Larsen separation IV 2019, ink on paper, 838mm x 1143mm
Larsen separation V 2019, ink on paper, 838mm x 1143mm
Basal slide 2019, ink on paper, 1500mm x 1500mm
Bering Glacier 2019, ink on paper, 1500mm x 1500mm
Ffos-Y-Fran I 2018, ink on paper, 1500mm x 1500mm
Around the world mining is causing massive environmental, social and political problems. These scars on the landscape have come to typify our attitude to our environment. There is however a certain physical beauty in the man-made ever changing landscape.
Ffos-Y-Fran II 2018, ink on paper, 1500mm x 1500mm
Grasberg I 2018, ink on paper, 1500mm x 1500mm
Grasberg mine in Indonesia is the largest gold mine in the world and its operation has obliterated the neighbouring mountains. The juxtaposition between the natural beauty and manmade environmental damage is stark.
Grasberg II 2018, Ink on paper, 1500mm x 1500mm
Transitions Part I is the first in a series of pen and ink drawings exploring the artifcial and mechanical nature of the drawing process, to create an expressive facsimile exploring specifc geographical and environmental phenomena.
Siachen Glacier I 2017, ink on paper, 1500mm x 1500mm
Siachen Glacier II 2017, ink on paper, 1500mm x 1500mm
Siachen Glacier II 2017, ink on paper, 1500mm x 1500mm
Siachen Glacier IV 2017, ink on paper, 1200mm x 1200mm
Siachen Glacier III 2017, ink on paper, 1200mm x 900mm
Landscape 2017 is an experiment with a new application of pen and ink drawing, using topography and satellite imagery as reference to create a multi layered complex image.
Ben Nevis 2017, ink on paper, 1500mm x 1500mm
Zermatt 2017, ink on paper, 1500mm x 1500mm
Following on from the success of the 2015 Landscape show, Landscape 2016 is a new collection of screen prints.
These images are based around four British landscapes using the technique of mono-printing where paint is directly applied onto the screen creating unique one off prints.
The collection of 160 unique one-off mono screen prints were exhibited at Protein Studios in December 2016. Some of the collection is still available, please see below for more details.
https://www.lyonandcampbell.com/landscape-2016
Beinn Fhada No:6 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:8 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:9 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:17 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:23 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:29 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:38 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Beinn Fhada No:40 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:3 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:12 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:13 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:15 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:17 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:29 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:31 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Sgreamhach No:35 2016, mono screenprint on paper, 740 x 490mm, £480 unframed
Stob Coire Nan Lochan No.4 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.11 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.17 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.17 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.21 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.24 2016 mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.2 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.28 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.5 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.31 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.14 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.34 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.16 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Stob Coire Nan Lochan No.37 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.17 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.18 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.22 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.23 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.24 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
Bidean Nam Bian No.37 2016, mono screenprint on paper, 740mm x 490mm, £480 unframed
This first set of landscape drawings demonstrates a process of control within a new visual language used to reassess the connections between landscape in art and our relationship to nature.
There is a system of rhythmic, stylistic marks to articulate space in landscape creating a facsimile that has been processed through drawing, and reflects the human battle to dominate nature.
Ultimately nature wins through but the control within the drawing is aligned with Niels Bohr's notion that art still has a place in opening our minds to the way we see the world.
Landscape 2015 was exhibited in September 2015 at the 10 Hanover gallery Mayfair.
Crib Goch 2015, colour pencil on Fabriano paper, 2000 x 1330mm
Bidean Nam Bian 2015, colour pencil on Fabriano paper, 2000 x 1330mm
Stob Coire Nan Lochan 2015, colour pencil on Fabriano paper, 2000 x 1330mm
Stob Coire Nam Beith 2015, colour pencil on Fabriano paper, 2000 x 1330mm
Yr Wyddfa 2015, colour pencil on Fabriano paper, 2000 x 1330mm
Descending Stob Coire Nam Beith 2015, colour pencil on Fabriano paper, 1410 x 1000mm
Descending Bidean Nam Bian 2015, colour pencil on Fabriano paper, 1410 x 1000mm
Ascending Stob Coire Nam Bieth 2015, colour pencil on Fabriano paper, 1410 x 1000mm
Ascending Bidean Nam Bian 2015, colour pencil on Fabriano paper, 1410 x 1000mm
Esk Pike 2015, colour pencil on Fabriano paper, 1000 x 1000mm
Bow Fell 2015, colour pencil on Fabriano paper, 1000 x 1000mm
Ore Gap 2015, colour pencil on Fabriano paper, 1000 x 1000mm
Garnedd Ugain 2015, graphite on Fabriano paper, 950 x 750mm
Beinn Fhada 2015, graphite on Fabriano paper, 950 x 750mm
Meall Dearg 2015, graphite on Fabriano paper, 950 x 750mm
Sloc Nan Uan 2015, graphite on Fabriano paper, 950 x 750mm
Bidean Nam Bian Summit 2015, graphite on Fabriano paper, 950 x 750mm
Great End 2015, graphite on Fabriano paper, 950 x 750mm
Ben Nevis Summit 2015, graphite on Fabriano paper, 950 x 750mm
Bwich Coch 2015, graphite on Fabriano paper, 950 x 750mm
Untitled 2016, graphite pencil and ink on paper, 1143mm x 838mm
Untitled 2016, graphite pencil and ink on paper, 1143mm x 838mm
Untitled 2016, graphite pencil and ink on paper, 1143mm x 838mm
Untitled 2016, graphite pencil and ink on paper, 1143mm x 838mm
Untitled 2016, graphite pencil and ink on paper, 1143mm x 838mm
Untitled 2016, ink on paper, 1143mm x 838mm
Untitled 2016, ink on paper, 1143mm x 838mm
Untitled 2016, ink on paper, 1143mm x 838mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Untitled 2018, graphite pencil on paper, 420 x 297mm
Mort is series of life-size bull drawings, prints and sculptures. They were exhibited at Gallery Pangolin in April 2015 as the centrepiece of a group show titled ‘Toro’ alongside sculptures from Lynn Chadwick, Jon Buck, Mick Ponting, Deborah van der Beek , and Terence Coventry.
In the summer of 2011 I went to Madrid and Ceret to watch and draw bullfights. My aim wasn’t to understand bull fighting, but to get close to the bulls themselves, to make anatomical studies and explore the mythological significance of this formidable beast. My interest with anatomy and death started from studying and drawing cadavers in the morgue at the University college hospital whilst studying at the Royal College of Art. I felt that the narrative of the bullfight, the physical anatomy of the bull represented in a visceral drawing would make for an interesting visual experience. The drawings are intended to intimidate the viewer by placing them in an imaginary arena of danger.
No.39 Botero 2015, graphite pencil on paper, 1800mm x 2900mm
No.51 Cumplidor 2015, graphite pencil on paper, 3800mm x 1700mm
No.67 Cortesano 2015, graphite pencil on paper 3300mm x 1950mm
N.45 In Diano 2015, graphite pencil on paper, 3500mm x 1600mm
No.15 Ventero 2015, graphite pencil on paper, 3500mm x 1900mm
No.35 Ni Nfo 2015, graphite pencil on paper, 3000mm x 1800mm
No.15 Hurton 2015, graphite pencil on paper, 2700mm x 1900mm
No.15 Ventero (II) 2015, graphite pencil on paper, 2300mm x 900mm
No.15 Ventero (III) 2015, graphite pencil on paper, 2300mm x 850mm
No.15 Hurton (II) 2015, graphite pencil on paper, 2050mm x 1000mm
No.35 Ventero 2015, graphite pencil on paper, 1550mm x 750mm
No.67 Cortesano 2015, graphite pencil on paper, 2300mm x 900mm
Untitled 2015, drypoint etching, (edition of 5), 1000mm x 500mm
Untitled 2015, drypoint etching, (edition of 5), 1000mm x 500mm
Untitled 2015, drypoint etching, (edition of 5), 1000mm x 500mm
Untitled 2015, drypoint etching, (edition of 5), 1000mm x 500mm
Quito 2015, aluminium sculpture
‘Gravel pit’ is a series of drawings completed in 2008 and exhibited at Scream gallery, Mayfair. The drawings were built up in a series of layers. Each layer was drawn in graphite pencil and then rubbed out. The process was then repeated. Each layer contained a scene that was based on the overall narrative and when each layer was erased a certain amount of information would remain. The result is ambiguous, and like the narrative is slightly disturbing. The drawings are based on events that happened in 1989. A body was discovered floating in a nearby gravel pit lake.
Within my group of friends we knew who had committed the murder and the events surrounding it. The powerful impact of that random act left a lasting impression on me. I have tried to express my emotions in these drawings.
Gravel Pit II 2008, graphite on paper, 1540mm x 1500mm
Gravel Pit II 2008, graphite on paper, 1580mm x 1500mm
Gravel Pit I 2008, graphite on paper, 2900mm x 1500mm
Gravel Pit IV 2008, graphite on paper, 2100mm x 1500mm
Dirty Flowers of a series of editioned screenprints exhibited at Scream Gallery, Mayfair. They explore the narrative of sexual intrigue hidden behind a veneer of prim respectability.
Virginica 2005, screenprint on paper, 864mm x 864mm
White Pearl 2005, screenprint on paper, 750mm x 915mm
Pink Perfection 2005, screenprint on paper, 763mm x 927mm
Satans’ Robe 2005, screenprint on paper, 825mm x 1016mm
Peggy North 2005, screenprint on paper, 510mm x 710mm
Blushing Bride 2005, screenprint on paper, 970mm x 740mm
Wonderland 2015, screenprint on paper, 965mm x 737mm
Miss Charleston 2005, screenprint on paper, 990mm x 734mm
Blushing Bride 2005, screenprint on paper, 970mm x 740mm
