Framed Piece Available

April 2026

I’ve been experimenting with framing recently, and this morning I mounted a drawing into one of the new Black Walnut frames I’ve been making. Framing can often be a long and expensive process so I'm excited about the opportunity to frame my work myself at the studio as I make it.

This piece, Tehom (2026), has been as a small R&D project for me, and an opportunity to explore the framing process in more depth, refine my approach, and work through any practical challenges. There’s something particularly satisfying about seeing a work come together in this way, both the drawing and the frame feel considered parts of the final object. I’m really pleased with how it’s turned out.

Because this was part of an experimental phase, I’ve decided to offer the piece at a reduced price available now on my website.

The drawing itself is pencil on paper and has been framed using Tru Vue Conservation UV Filter Picture Frame Glass. This type of conservation glass helps protect the work from fading and damage caused by UV light, ensuring its longevity over time, and has very low reflection.

Details:

Tehom, 2026

Pencil on paper

£300

Unframed: 210 × 148 mm

Framed: 300 × 400 mm

One small note; the frame has a minor amount of damage in the bottom right-hand corner, which is visible in the images.

If you’re interested in the piece or curious about the framing process, feel free to reach out or take a closer look at my shop.

Joseph x

Tehom (2026) I designed as an immersive study of the reverse of a dahlia, where form begins to shift between observation and abstraction. The petals overlap and fold into one another, creating a dense interior space that feels less botanical and more structural; like something in the process of emerging or dissolving. The tonal range is carefully controlled, drawing the eye inward toward a darker centre where detail gives way to ambiguity.

The title Tehom, taken from the Biblical Hebrew word meaning “the deep” or “the abyss” speaks to this sense of inward movement. Rather than presenting the flower as a surface object, the drawing suggests depth without clear boundary, a space that is layered, obscure, and difficult to fully grasp. In this way, the subject becomes a kind of threshold; something at once delicate and expansive, intimate and unknowable.