{"title":"NEW IN","description":"","products":[{"product_id":"jumpin-hand-pulled-screenprint","title":"Jumpin' Hand Pulled Screenprint","description":"\u003cp\u003eFive layers of ink. Five separate screens. Five chances to get it wrong. But when it works — when all those colours hit the paper exactly right — you get this. Pure kinetic energy frozen in time.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eJumpin'\u003c\/strong\u003e is what happens when screenprinting meets restless legs syndrome. That fidgety, can't-sit-still feeling we all know. The moment when your body needs to move and your mind won't settle. I've been there in the studio — pacing between prints, bouncing on my heels waiting for ink to dry, that electric feeling when a piece finally clicks.\u003c\/p\u003e\u003cp\u003eThis isn't about literal jumping. It's about that internal spring that gets wound too tight. The energy that builds up when you've been static too long. The urge to shake things up, break the pattern, do something — anything — that isn't standing still.\u003c\/p\u003e\u003cp\u003eThe process mirrors the feeling. Five layers means five separate printing sessions. Five times pulling the squeegee across the screen. Five opportunities for the registration to slip, for the colours to shift, for everything to go sideways. But that tension — between control and chaos, between precision and energy — that's where the good stuff happens.\u003c\/p\u003e\u003cp\u003eEach print gets hand-pulled on my press in Kimpton. The 400gsm Cairn ivory paper can handle the ink load — five layers would kill a thinner stock. Every sheet gets signed and embossed while the ink's still settling. Forty prints total. When they're gone, that's it.\u003c\/p\u003e\u003cp\u003eThe recycled paper stock matters here. 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It's an old technique — the kind bookbinders used for leather spines, the kind signwriters used before vinyl letters took over. Here it adds gravity to words that already refuse to be ignored.\u003c\/p\u003e\u003cp\u003eBoth versions start the same way — Madrid litho paper, 350gsm, heavy enough to handle the ink load. Four layers of screenprint, each one registered by hand under the studio lights in Kimpton. The yellow version stays pure — bright, clean, unapologetic. The gold leaf version gets the metal treatment on the final pass, each sheet handled individually while the ink's at exactly the right tack.\u003c\/p\u003e\u003cp\u003eThis isn't about subtlety. It's about having something to say and saying it clearly. The proportions matter here — 700mm wide but only 220mm tall, giving the words room to breathe while keeping them contained. Horizontal format that works on walls where vertical pieces wouldn't fit.\u003c\/p\u003e\u003cp\u003eLimited to 40 prints total. The first 20 get the gold leaf treatment, numbered and signed. The remaining 20 stay bright yellow — equally bold, different expression. Each one embossed with Oli's mark, shipped in acid-free tissue inside a cardboard tube with certificate.\u003c\/p\u003e\u003cp\u003eMade in the same Hertfordshire village where Oli grew up, using techniques he's been refining for two decades. No gallery mark-up, no middleman taking a cut. Direct from the person who mixed the inks and pulled each print.\u003c\/p\u003e\u003cp\u003eThis is for people who appreciate directness. Who understand that the best messages don't need explanation. 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These pieces started as flat copper sheets in the studio — heated, treated, left to oxidise until each one developed its own personality.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDolly Square\u003c\/strong\u003e, and \u003cstrong\u003eLean\u003c\/strong\u003e — four experiments in what happens when you print on metal that's still changing. Each piece uses the oxidised copper as both canvas and collaborator. The patina creates textures you can't plan for. Dark greens where the copper aged slowly. Bright blues where it reacted fast. Every sheet tells a different story about time and chemistry.\u003c\/p\u003e\n\u003cp\u003eThe printed elements — abstract compositions with varnish overlays — sit on top of this copper landscape. Sometimes they fight the patina. Sometimes they work together. All are hand-pulled using the flatbed press, building up layers of ink and varnish that catch the light differently depending on where you stand.\u003c\/p\u003e\n\u003cp\u003eThis isn't about making pretty pictures. It's about working with materials that have their own agenda. Copper oxidises whether you want it to or not. The trick is learning to work with that process instead of against it. These pieces capture specific moments in that ongoing chemical conversation — each one a one-off original because you can't make the same patina twice.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTechnical details:\u003c\/strong\u003e Each piece measures 270 x 270mm, signed on the back, and comes in a handmade stained oak frame. The copper will continue to age very slowly over time — that's part of owning a piece made from living metal. Shipped in archival tissue and padded packaging to protect the surface.\u003c\/p\u003e\n\u003cp\u003eThe prices vary because each piece took different amounts of work to resolve. Some copper sheets cooperated. Others needed more convincing. \u003cstrong\u003eDolly\u003c\/strong\u003e and \u003cstrong\u003eLIGHT\u003c\/strong\u003e needed multiple layers to balance the strong patina patterns. \u003cstrong\u003eGate\u003c\/strong\u003e worked first time. \u003cstrong\u003eLean\u003c\/strong\u003e sits somewhere between.\u003c\/p\u003e\n\u003cp\u003eThese are works in progress made visible. Scratches, marks, and imperfections aren't flaws — they're evidence of the process. If you want machine-perfect prints, buy a poster. If you want to see what happens when someone spends twenty years learning to screen print just to tear up the rulebook and start printing on oxidised metal, these pieces show that journey.\u003c\/p\u003e\n\u003cp\u003eFor collectors who understand that the most interesting art happens when artists stop playing it safe. For walls that need something that changes as the light changes. 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This is work that changes throughout the day.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCare instructions:\u003c\/strong\u003e Keep away from direct sunlight and moisture. Frame with UV-protective glass for longevity. The gold leaf (where applied) is durable but shouldn't be touched directly.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eShipping:\u003c\/strong\u003e Wrapped in acid-free tissue and shipped worldwide in a sturdy cardboard tube.\u003c\/p\u003e\u003cp\u003eThis is for people who aren't afraid of colour. Who understand that sometimes a print's job is to wake up a room, not whisper in the corner. 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The child's hair is rendered in solid black with expressive linework that suggests movement and weight. A classic 1960s bob cut. The kind you see in vintage children's books.\u003c\/p\u003e\n\u003cp\u003eThe flesh tones are subtle. Cream mixed with the faintest suggestion of pink. They're not flat — they're built up with transparent layers that let the background breathe through. The child's arms wrap protectively around the horse. Small hands. Gentle grip. You can feel the weight of it.\u003c\/p\u003e\n\u003cp\u003eThis print was pulled by hand on heavyweight cartridge stock. Each layer registered by eye and feel. The black line layer went down first after the background. Then the halftone detail layer — probably a 40 or 50 line screen for that visible dot structure. Then the skin tones last, allowing for subtle overprinting where colours meet.\u003c\/p\u003e\n\u003cp\u003eEvery pull is slightly different. That's not a defect. That's the point. Hand-pulled means human touch. Pressure variations. Ink density that shifts. These are originals, not editioned prints. Each one exists in its own right.\u003c\/p\u003e\n\u003cp\u003eThe title — Stay Curious— captures exactly what you're looking at. That fearless childhood instinct to pick things up and examine them. Before we learn to be cautious. Before we forget how to wonder.\u003c\/p\u003e\n\u003cp\u003eThere's something about the composition that recalls 1960s children's illustration — Richard Scarry, Maurice Sendak — but filtered through an urban art sensibility. Bold shapes. High contrast. But tender. Not ironic.\u003c\/p\u003e\n\u003cp\u003eThe craft sits in the detail. Look at the drips deliberately left at the bottom edge. The way the halftone dots create texture on fabric and scales alike. The registration that's nearly — but not quite — perfect. Twenty-six years of pulling prints means knowing exactly when to leave things imperfect.\u003c\/p\u003e\n\u003cp\u003eThis is British screenprint at its most sincere. No digital shortcuts. No reproduction. Just ink, mesh, squeegee, paper, and twenty-six years of knowing exactly how hard to pull.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003eA3 - 420x297mm\u003c\/p\u003e\n\u003cp\u003eEdition 8\u003c\/p\u003e\n\u003cp\u003eSigned and No. by artist front and back \u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"original","offer_id":56582990135682,"sku":"OLI-092","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"1","offer_id":56582990168450,"sku":"OLI-093","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"2","offer_id":56582990201218,"sku":"OLI-100","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"3","offer_id":56582990233986,"sku":"OLI-104","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"4","offer_id":56582990266754,"sku":"OLI-110","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"5","offer_id":56582990299522,"sku":"OLI-111","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"6","offer_id":56582990332290,"sku":"OLI-112","price":400.0,"currency_code":"GBP","in_stock":true},{"title":"7","offer_id":56582990365058,"sku":"OLI-131","price":400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/1_451e0675-9467-4a5c-980d-a788da0b5886.jpg?v=1776865660"},{"product_id":"corrine-no-1-hand-painted-collage-screenprint","title":"Corrine - Hand Painted Collage \/ Screenprint (Different Variants)","description":"\u003cp\u003e\u003cstrong\u003eCorrine no.1\u003c\/strong\u003e is a joyful collision of vintage ephemera and contemporary screenprint craft. Held in two hands, this original work splits its composition down the middle. On the left, a graphic starburst motif radiates in hot pink and coral orange against a sunshine yellow ground, layered over olive and mustard geometric rays. Below it, white daisies rise from a vase rendered in emerald and teal, their petals catching the light. On the right, a young woman with dark curly hair stands confidently in a teal striped dress, her figure pulled from what feels like a 1950s children's book illustration. Her pink skin tones and the cream backdrop behind her create a warm counterpoint to the electric decorative elements beside her.\u003c\/p\u003e\n\n\u003cp\u003eThe composition breathes with colour. Golden yellows, hot pinks, deep teals, lime greens, purples, and oranges stack and overlap across the picture plane. Geometric blocks of transparent and opaque inks create depth and vibrancy. You can see the hand in this — brushwork, collage edges, the way painted elements sit alongside pulled screenprint layers.\u003c\/p\u003e\n\n\u003cp\u003eThis is a hand-painted collage combined with screenprint, which makes it an original. The \"no.1\" in the title tells you this is the first iteration, a unique piece that blends found vintage imagery with Fowler's signature layering technique. Multiple screens have been pulled here — at least six or seven passes to build up those overlapping colour fields and graphic elements. Transparent inks allow underlayers to glow through, while opaque passes anchor the composition with solid blocks of saturated colour.\u003c\/p\u003e\n\n\u003cp\u003ePrinted on heavyweight archival paper stock, the surface holds the ink with a slight tooth, giving each layer texture and presence. Registration is deliberately loose in places, letting colours drift and interact organically. This is hand-pulled craft, not digital precision.\u003c\/p\u003e\n\n\u003cp\u003eThe mood is pure mid-century optimism — think 1960s children's annuals, vintage fabric design, and British illustration heritage filtered through a contemporary lens. There's nostalgia here, but it's warm and knowing, not sentimental. Fowler draws from the visual language of post-war British graphic design, when colour was bold and illustration was playful.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"1","offer_id":56583515472258,"sku":"OLI-134","price":900.0,"currency_code":"GBP","in_stock":true},{"title":"2","offer_id":56583515505026,"sku":"OLI-135","price":900.0,"currency_code":"GBP","in_stock":true},{"title":"3","offer_id":56583515537794,"sku":"OLI-136","price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/4_c71d863c-c936-4427-b820-fe3d6775a612.jpg?v=1776871723"},{"product_id":"natures-gift-hand-painted-collage-screenprint","title":"Natures Gift - Hand painted, collage Screenprint (Different Variants)","description":"\u003cp\u003eThis is a print about abundance. A figure stands with their back to you, crowned with a magnificent purple pumpkin complete with green stem and leaves, presenting armfuls of golden daffodils. The composition pulses with warmth—horizontal bands of egg-yolk yellow, tangerine orange, hot pink, and scarlet stripe the background like a sunset caught mid-burn. Curved green foliage sweeps through the lower half, grounding the surreal harvest scene.\u003c\/p\u003e\n\n\u003cp\u003eThe flowers themselves are extraordinary. Dense yellow daffodils, rendered in multiple ink layers with visible texture and grain, emerge from both corners. You can see the hand-painted details in the petals, the careful collage work where paper elements have been integrated into the screenprint layers. This isn't just printing—it's assemblage, painting, and printmaking working together.\u003c\/p\u003e\n\n\u003cp\u003eThe figure's black dress shows beautiful horizontal ribbing, achieved through careful screen exposure and precise ink control. That rich, matte black sits against the vibrant colour field, creating depth and contrast. Look closely and you'll spot the artist's signature in the lower right—\u003cem\u003eOli 26\u003c\/em\u003e—marking this as a 2026 original.\u003c\/p\u003e\n\n\u003cp\u003eThis is a unique state print. The title tells you everything: hand-painted, collage, screenprint. Every element is built up in individual layers. First, the colour field bands—each pulled separately, registered by hand. Then the figure, masked and exposed as its own screen. The florals next, with hand-painted additions worked directly onto the print between passes. Finally, collage elements adhered and integrated. The process takes days. No two will ever match exactly.\u003c\/p\u003e\n\n\u003cp\u003ePrinted on heavyweight archival paper stock, the kind that takes ink with texture and holds colour without fading. You can feel the deposit of each layer, the slight relief where pigment sits on the surface. This is the opposite of digital flatness.\u003c\/p\u003e\n\n\u003cp\u003eThe imagery draws from folk traditions—harvest figures, anthropomorphic vegetables, the British love affair with both pumpkins and daffodils. But there's contemporary graphic confidence here too, the boldness of Saint Martins training meeting twenty-six years of studio practice. It feels both timeless and utterly now.\u003c\/p\u003e\n\n\u003cp\u003eThis is what original screenprint means. Hand-pulled. Hand-painted. Collaged by hand. One print, one moment in the studio, never to be exactly repeated.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"1","offer_id":56583577862530,"sku":null,"price":900.0,"currency_code":"GBP","in_stock":true},{"title":"2","offer_id":56583577895298,"sku":null,"price":900.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/7_1ceb66b8-947f-4609-91bc-90bd31c597ff.jpg?v=1776873100"},{"product_id":"to-the-shop-hand-painted-collage-screenprints","title":"To The Shops Hand Painted Collage (Different Variants)","description":"\u003cp\u003eFive originals. Each one its own thing. Same process, different conversation.\u003c\/p\u003e\n\n\u003cp\u003eThe surface starts with aged textured paper — wire wool and vinegar, a process that takes time and changes the paper's character before a single mark is made. Collage elements go in next. Then screenprinted layers. Then hand-painted passages that move across the surface with a looseness that print alone can't achieve. The result is something built, not just reproduced.\u003c\/p\u003e\n\n\u003cp\u003eThe titles tell you something. \u003cem\u003eTechnicolours. To The Shops. Outside The Box. It Doesn't Have To Mean Anything. Ride The Waves.\u003c\/em\u003e They're not descriptions — they're moods. Each piece carries its own palette, its own weight, its own reason for existing.\u003c\/p\u003e\n\n\u003cp\u003eThe colour across the series is bold and unafraid. Warm, saturated, occasionally unexpected. The kind of work that holds a wall rather than decorates it.\u003c\/p\u003e\n\n\u003cp\u003eEvery piece is sealed with UV-resistant satin gloss. Edges hand-stained black. The artist's stencil on the reverse. Signed and numbered on the front.\u003c\/p\u003e\n\n\u003cp\u003eFive originals. Edition of 1 each. Choose the one that speaks to you — there's no second chance once it's gone.\u003c\/p\u003e\n\n\u003cp\u003eA3+ — 420×594mm\u003cbr\u003e\nEdition 1 of each variant\u003cbr\u003e\nSigned and numbered by the artist, front and back\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Technicolours","offer_id":56583617675650,"sku":null,"price":1200.0,"currency_code":"GBP","in_stock":true},{"title":"To The Shops","offer_id":56583617708418,"sku":null,"price":1200.0,"currency_code":"GBP","in_stock":true},{"title":"Outside The Box","offer_id":56583617741186,"sku":null,"price":1200.0,"currency_code":"GBP","in_stock":true},{"title":"It Doesn't Have To Mean Anything","offer_id":56583617773954,"sku":null,"price":1200.0,"currency_code":"GBP","in_stock":true},{"title":"Ride The Waves","offer_id":56583617806722,"sku":null,"price":1200.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/14.jpg?v=1776875099"},{"product_id":"dreams-original-artwork","title":"Dreams Original artwork","description":"\u003cp\u003eDreams. Not the soft-focus kind. The kind that have weight and colour and a logic all their own.\u003c\/p\u003e\n\n\u003cp\u003eThe surface is built up in layers. Textured paper aged with wire wool and vinegar before anything else happens — a process that gives the paper a history before the image arrives. Collage elements sit within that surface. Screenprinted layers come next. Then hand-painted passages that move across the composition with a looseness that print alone can't achieve.\u003c\/p\u003e\n\n\u003cp\u003eThe palette is bold. Seven colour references across the piece — nothing timid, nothing accidental. The kind of colour that holds a room. The kind that looks different depending on the light and the time of day.\u003c\/p\u003e\n\n\u003cp\u003eThis is a framed original. One piece. It won't be made again.\u003c\/p\u003e\n\n\u003cp\u003eSealed with UV-resistant satin gloss. Edges hand-stained black. The artist's stencil on the reverse. Signed and numbered on the front.\u003c\/p\u003e\n\n\u003cp\u003eA3+ — 420×594mm\u003cbr\u003e\nOne of a kind\u003cbr\u003e\nSigned by the artist, front and back\u003cbr\u003e\nFramed and ready to hang\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583793410434,"sku":"OLI-167","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/1_54fdd73a-f2f8-414d-a6b9-dc111d6f51db.jpg?v=1776875996"},{"product_id":"natures-gift-no-4-original-artwork","title":"Natures Gift No.4 Original Artwork","description":"\u003cp\u003e\u003cem\u003eNatures Gift No.4 Original Artwork\u003c\/em\u003e is a joyful collision of mid-century nostalgia and bold screenprint colour. A vintage paper doll figure—her dress a riot of hand-pulled stripes in orange, pink, yellow, and green—stands against an abstract landscape built from olive, mustard, rust, and hot pink. Two floating circles hover above her head like suns or moons, one split between magenta and deep purple, the other glowing hot pink with geometric facets. To her left, a stylised flower blooms from a navy vase, its petals radiating in yellow, orange, red, and blue.\u003c\/p\u003e\n\u003cp\u003eThis is an original hand-pulled screenprint. Not an edition. Not a variant. The only one that will ever exist.\u003c\/p\u003e\n\u003cp\u003eOli pulled this on heavyweight Somerset Satin, 300gsm, chosen for its soft tooth and ability to hold dense ink without buckling. The paper drinks transparent layers and reflects opaque ones. You can see it working across the whole composition.\u003c\/p\u003e\n\u003cp\u003eThe layering here is complex. At least twelve separate pulls. The background starts with a mid-tone grey, then horizontal bands of olive green, golden yellow, grey, bright cadmium yellow, scarlet orange, and magenta pink. Each one registered by hand. The circles came next—transparent magenta over purple creates that jewel-like glow. The girl was printed in multiple passes: her outline, her dress stripes, her hair, her skin tones, her green sleeves and tights. The flower needed four: the vase, the stem, the leaves, the radiating petals. Where inks overlap, new colours appear—olive green meets yellow and shifts warmer, pink meets purple and deepens to plum.\u003c\/p\u003e\n\u003cp\u003eThis print draws on 1960s children's illustration, Constructivist composition, and the flat graphic language of Polish poster art. There's something tender about that paper doll girl, carefully preserved and recontextualised into a landscape of pure colour and geometry. It feels like childhood memory filtered through twenty-six years of printmaking discipline.\u003c\/p\u003e\n\u003cp\u003eThe textured, almost rusty quality in the upper background isn't digital grain—it's the physical reality of ink meeting paper under pressure. Hand-pulled. Unrepeatable.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003eA2 Float mounted\u003c\/p\u003e\n\u003cp\u003eSigned front and back\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583926382978,"sku":"OLI-168","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/2_eff94618-8bb3-4b46-9375-0305db4f164d.jpg?v=1776877298"},{"product_id":"natures-gift-no-3-original-artwork","title":"Natures Gift No.3 Original Artwork","description":"\u003cp\u003eThis is what happens when vintage childhood nostalgia collides with psychedelic pop art intensity. Two bold, graphic flowers explode across a deep black ground — one in hot reds and oranges, the other in electric yellows with lime accents. Their petals radiate outward like sunbursts, each stem rising from a shared heart-shaped base rendered in rich terracotta browns. Overlaid on the right, a young girl in a turquoise dress stands frozen in time, sourced from mid-century ephemera, her presence both innocent and haunting against the kaleidoscopic energy.\u003c\/p\u003e\n\n\u003cp\u003eThe colour palette is fearless. Golden yellows bleed into orange. Hot pinks punch through from the upper corner where the figure's face glows in graduated tones. Teal greens in the dress create cool counterpoints to the warm explosion below. Geometric overlays — translucent triangles in lime, pink, orange — build optical depth across the lower composition. Horizontal orange stripes cut across the top like a retro television test pattern. On the left edge, decorative motifs in blues and pinks add another layer of visual information. Every inch is working.\u003c\/p\u003e\n\n\u003cp\u003eThis is an original screenprint. Not part of an edition. One pull, one artwork, never to be repeated. The layering here is complex — at least ten separate screens to build this density of colour and detail. Each layer pulled by hand on the bench. The black background went down first, creating that dramatic void. Then the geometric foundation layers — those translucent triangles that establish spatial depth. The flower stems and heart base followed, then the radiating petals in their multiple colour passes. The vintage figure required careful registration, her dress, skin tones, and face each demanding separate screens. The horizontal stripes, the decorative edge elements, the final highlights — all built up through sequential pulls.\u003c\/p\u003e\n\n\u003cp\u003ePrinted on heavyweight art paper with enough weight to hold this ink density without buckling. The surface shows the slight texture variations that only hand-pulling creates — small irregularities in ink coverage, the honest imperfections that prove human craft over mechanical reproduction.\u003c\/p\u003e\n\n\u003cp\u003eThere's a 1960s optimism here, filtered through contemporary collage sensibility. It channels Peter Blake's pop art nostalgia, the psychedelic poster art of San Francisco's Summer of Love, the layered visual language of Rauschenberg. But it's unmistakably Fowler — that signature collision of found imagery and graphic boldness, where childhood innocence meets sophisticated printmaking technique. The title \u003cem\u003eNature's Gift No.3\u003c\/em\u003e positions these flowers as offerings, celebrations, bursts of natural joy rendered in the most unnatural, glorious colour.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583941325186,"sku":"OLI-169","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/20_95c589ff-a685-4109-8919-50d5e1cb39df.jpg?v=1776878488"},{"product_id":"boxed-in-original-artwork","title":"Boxed In No.2 Original Artwork","description":"\u003cp\u003e\u003cem\u003eBoxed In\u003c\/em\u003e is a collision of 1960s pop energy and urban melancholy. A young woman stands in profile, caught in a moment of introspection, surrounded by geometric shapes that feel both playful and claustrophobic. The title speaks to the tension in the composition — those vertical bars on the left, the overlapping circles like lollipops or street signs, the grid of colour that boxes her in.\u003c\/p\u003e\n\u003cp\u003eThe palette is fearless. Acid yellows bleed into lime greens. Hot pinks sit against deep purples. Orange and teal overlap to create unexpected tertiary tones. This is what happens when you layer transparent inks — colours mix optically on the paper, creating depths you can't achieve with flat printing. Every overlap is a decision. Every registration matters.\u003c\/p\u003e\n\u003cp\u003eThis is an original screenprint. Not edition one of fifty. Not number twelve of twenty. The only one. Oli pulled this piece as a unique work — a one-off exploration of colour, composition, and process. It will never be repeated.\u003c\/p\u003e\n\u003cp\u003eThe layering here is complex. At least ten to twelve separate screens, possibly more. Each colour required its own stencil, its own pull, its own drying time. The figure was likely built up first — that orange skin tone, the yellow and green of the dress, the dark hair. Then the background layers: the purple and teal blocks, the circular forms, the vertical stripes. The transparency of the inks means later layers don't obliterate what's beneath — they interact with it.\u003c\/p\u003e\n\u003cp\u003eThe paper stock anchors all that colour. Heavy weight cartridge, substantial enough to handle multiple wet layers without buckling. You can see the tooth of the paper where the ink sits, the slight texture that proves this was pulled by hand, not pushed through a digital press.\u003c\/p\u003e\n\u003cp\u003eThere's something very British about this piece. It has the graphic punch of 1960s London poster art — the era of Biba, of King's Road, of Central Saint Martins graduates reshaping visual culture. But it also carries a contemporary edge, that sense of urban isolation despite all the noise and colour around you. The figure isn't celebrating — she's contained, framed, boxed in by the city's geometry.\u003c\/p\u003e\n\u003cp\u003eThe composition plays with positive and negative space. The figure is solid, boldly rendered, while the background fragments into shapes and patterns. Those circular forms could be anything — traffic lights, balloons, thought bubbles, urban signage. The vertical bars suggest architecture, railings, the grid of city living. Everything overlaps, creating a visual rhythm that moves your eye around the frame.\u003c\/p\u003e\n\u003cp\u003eThis is screenprinting as fine art. Twenty-six years of knowing how inks behave, how colours interact, how to register a screen so the overlap is intentional, not accidental. Central Saint Martins taught technique, but two and a half decades in a Hertfordshire studio taught instinct.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003e420x594mm\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583950107010,"sku":"OLI-171","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/19_bc124123-cd80-47ad-8b0b-baeb03f16308.jpg?v=1776879254"},{"product_id":"any-which-way-original-artwork","title":"Any Which Way - Original Artwork","description":"\u003cp\u003e\u003cem\u003eAny Which Way\u003c\/em\u003e is a psychedelic collision of colour and form. A female figure stands right of centre, her silhouette layered with vibrant florals and pattern work that bleed through like a double exposure. She's caught mid-stride, confident, tattooed with imagery. Hot pink dominates the right side of the composition. Deep magenta, searing and unapologetic.\u003c\/p\u003e\n\n\u003cp\u003eTo her left, a stylised flower rises from geometric ground. Orange and pink petals radiate from a sun-yellow centre. Behind both figure and bloom, organic shapes undulate across the picture plane—curves of cream, turquoise, aubergine, teal. These forms aren't decorative. They create spatial depth, pushing and pulling the eye through layers of transparent ink.\u003c\/p\u003e\n\n\u003cp\u003eThe lower third transitions into radiating stripes. Lime green, lemon yellow, tangerine, burnt orange. They fan outward like a sunrise viewed through a kaleidoscope. Energy moves upward through the print. There's a signature bottom left, hand-signed in a darker tone.\u003c\/p\u003e\n\n\u003cp\u003eThis is original artwork. Not an edition. A unique hand-pulled screenprint that exists once. The term matters because screenprinting typically produces multiples, but this piece stands alone. Every layer was pulled individually on Oli's press in Hertfordshire. No digital shortcuts. No mechanical reproduction.\u003c\/p\u003e\n\n\u003cp\u003eThe layering process here is complex. At least ten separate screens, possibly more. The background shapes went down first—those large organic forms establishing the colour field. Then the figure, printed in a way that allows underlying layers to show through. The floral patterning within her outline required precise registration. The foreground flower and radiating stripe work came next, each demanding its own screen, its own pull. Finally, the deep saturated pinks that anchor the right side.\u003c\/p\u003e\n\n\u003cp\u003eThe aesthetic pulls from 1960s psychedelia and 1970s counterculture graphics. There's Wes Wilson in those organic curves. Peter Max in the colour saturation. But filtered through a contemporary lens—street art energy, digital collage thinking executed in analogue craft. The figure feels simultaneously vintage and now. Retro fashion photography meets screenprint's inherent flatness.\u003c\/p\u003e\n\n\u003cp\u003eThe paper stock would be heavyweight—300gsm minimum to handle this many ink layers without warping. Probably Somerset or Fabriano. Something with enough tooth to grip the ink but smooth enough for clean registration across multiple pulls.\u003c\/p\u003e\n\n\u003cp\u003eThis print captures a specific mood. Optimistic but not naive. Bold without shouting. It understands its references without being enslaved to them.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583960035714,"sku":"OLI-172","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/18_03e5c91a-8f57-450f-9c15-ed4748481479.jpg?v=1776880070"},{"product_id":"stupid-dog-original-artwork","title":"Stupid Dog - Original Artwork","description":"\u003cp\u003e\u003cem\u003eStupid Dog\u003c\/em\u003e is a riot of psychedelic colour and primitive form. Two totemic figures stand sentinel either side of a pale, ghostly flower. The left figure pulses with wavy bands of electric blue, acid green, hot pink and orange — like a heat map or a hallucination. The right figure towers in dusty pink and purple, striped vertically, both arms raised. Between them, a white daisy bleeds downward, drips of pale ink running like wax from a candle.\u003c\/p\u003e\n\n\u003cp\u003eThe background is pure optical heat. Radiating bands of red, orange, yellow and green surge outward from the centre, creating a halo effect that feels part sunrise, part target, part portal. The flower sits dead centre, its petals crudely drawn, almost childlike. But there's nothing naive about the execution.\u003c\/p\u003e\n\n\u003cp\u003eThis is an original artwork. One of one. No edition. Once it's sold, that's it.\u003c\/p\u003e\n\n\u003cp\u003eThe layering here is dense and deliberate. First came the background gradient — probably three or four passes to build that intensity, each colour pulled through a separate screen. Then the figures, built up in transparent washes of cyan, magenta, yellow, layered to create those undulating rainbow patterns. The green and pink solids came next, printed wet enough to allow some bleed and texture. Finally, the white flower and drips, laid down last to sit on top of everything, opaque but not flat — you can see the weave of the paper through the ink.\u003c\/p\u003e\n\n\u003cp\u003eOli worked this on heavy cotton rag stock, the kind that holds water-based ink without buckling. Every pass registered by eye and hand. No digital shortcuts. The slight shifts in alignment aren't mistakes — they're evidence of the process.\u003c\/p\u003e\n\n\u003cp\u003eThe mood pulls from 1960s psychedelic poster art, the kind churned out for Avalon Ballroom gigs and Grateful Dead shows. But there's also something older here. Those figures feel like corrupted deities, ancient symbols passed through a photocopier too many times. The flower could be reverent or sarcastic. The title suggests the latter.\u003c\/p\u003e\n\n\u003cp\u003eThere's a looseness to this that only comes from decades of printmaking. Oli doesn't fuss. He pulls, he layers, he lets the ink do what it wants within the boundaries of the screen. Twenty-six years of craft gives you that confidence.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583967834498,"sku":"OLI-173","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/17_e8b33b1f-ac55-42a3-b268-a2e858017265.jpg?v=1776880795"},{"product_id":"time-to-go-home-original-artwork","title":"Time to go home - Original artwork","description":"\u003cp\u003eA young girl walks home at dusk, her yellow floral dress vivid against the fading light. Short dark hair, trainers, a small black cat padding alongside her. The path beneath her feet explodes into rainbow stripes — orange, magenta, yellow, violet — like the world itself is celebrating the end of the day. Behind her, a row of terraced houses glows soft in the sunset, their windows catching the last amber light. A street lamp stands sentinel. Yellow flowers — daffodils maybe, or dandelions — punctuate the foreground. This is childhood. This is the walk you took every day after school, when the world felt both enormous and safe.\u003c\/p\u003e\n\u003cp\u003eThis is an original screenprint. Not part of an edition. A unique piece pulled once, by hand, in Hertfordshire. The kind of work that happens when twenty-six years of craft meets a single afternoon of spontaneous layering. Once it's sold, the screens are cleaned. The artwork can never be repeated.\u003c\/p\u003e\n\u003cp\u003eThe paper is heavyweight cotton rag, chosen for its tooth and absorbency. It holds the ink without buckling, even through multiple passes. The base layer is a warm wash — peachy orange fading into rose and violet — pulled through an open screen to create that sunset gradient. Then come the architectural elements: the houses, the lamp, the distant skyline, printed in semi-transparent yellows and pinks so they sit back in the atmospheric haze. The rainbow path is next — each stripe a separate pull, colours bleeding at the edges where the ink is still wet. The girl and her cat are printed last, using a fine mesh screen to capture the detail in her dress pattern and the negative space in her silhouette. The flowers are added with a loose, almost gestural layer — bright cadmium yellow with flecks of orange. Registration is deliberately imperfect. You can see where colours overlap and shift. That's the point.\u003c\/p\u003e\n\u003cp\u003eThere's something very British about this image. Terraced houses. Street lamps. The specific quality of light at five o'clock in spring. It draws on mid-century illustration — the flat graphic shapes, the bold colour — but filtered through a contemporary urban lens. Think Shirley Hughes meets street art. Nostalgia, but not sentimental. Honest.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003eA1 841 x 594mm\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583971963266,"sku":"OLI-174","price":3400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/13_8ff9d1e1-feb8-46ee-bf3d-4ca5046cd46d.jpg?v=1776881451"},{"product_id":"do-your-dance-original-artwork-series","title":"Do Your Dance - Original Artwork series","description":"\u003cp\u003eTwo figures stand in a world of pure colour. The child on the left—blonde hair rendered in pale yellow, body covered in wave patterns and zigzags, hands raised like they're mid-spin. The taller figure on the right—green-toned face, striped dress, standing confident. Both pulled from what feels like a 1970s children's annual. Both dancing in their own way.\u003c\/p\u003e\n\n\u003cp\u003eThis is \u003cstrong\u003eDo Your Dance\u003c\/strong\u003e—an original screenprint from Oli Fowler's studio. Not part of a numbered edition. Original means one-off. When it's gone, the screens are cleaned and the image is never pulled again.\u003c\/p\u003e\n\n\u003ch3\u003eColour and Composition\u003c\/h3\u003e\n\n\u003cp\u003eThe palette is fearless. Hot pink bleeds into deep orange. Turquoise sits next to purple. Yellows—both soft cream and sharp citrus—anchor the top of the composition in organic, undulating forms. The background is divided into loose, overlapping fields of colour. Polka dots scattered across turquoise. Grass-like marks in green at the bottom. Pink and yellow flowers blooming at the figures' feet. Yellow ink drips vertically, left raw and unwiped. The whole piece hums with layered energy.\u003c\/p\u003e\n\n\u003ch3\u003eThe Process\u003c\/h3\u003e\n\n\u003cp\u003eThis print required at least twelve separate screens. Each colour laid down, dried, then overprinted. The base fields went down first—orange, turquoise, purple sections. Then the curved organic shapes at the top, each a separate pull. The figures next—outline work, then solid fills, then pattern details. Stripes hand-drawn onto the screen. Wave patterns on the child's dress, crosshatching on the older girl's outfit. Polka dots registered by eye. Floral motifs. Drips added late in the process, deliberately left loose. Final black line work to define the figures.\u003c\/p\u003e\n\n\u003cp\u003eThe paper is heavyweight cartridge stock—300gsm, off-white, with enough tooth to hold this much ink without buckling. You can see the texture where layers overlap. The density of the build-up. Water-based inks throughout, hand-mixed for each pull.\u003c\/p\u003e\n\n\u003ch3\u003eInspiration and Mood\u003c\/h3\u003e\n\n\u003cp\u003eThis draws from vintage children's illustration—the kind found in Ladybird books and Blue Peter annuals. But filtered through a contemporary maximalist lens. The title suggests movement, freedom, unselfconsciousness. Childhood before inhibition sets in. The bold colour and pattern work references 1960s psychedelia, folk art, outsider expression. It's joyful without being saccharine. Energetic without chaos.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583976190338,"sku":"OLI-175","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/21_2118145c-6c79-43f8-8c0d-38b7e570246a.jpg?v=1776881925"},{"product_id":"jacky-goes-to-school-original-artwork","title":"Jacky Goes To School - Original Artwork","description":"\u003cp\u003eA young girl stands ready for school, her back to us, yellow hair catching the light. She wears a hot pink dress scattered with cream polka dots, turquoise sleeves visible beneath. This is \u003cem\u003eJacky Goes To School\u003c\/em\u003e, and she's walking straight into a layered world of childhood memory and urban grit.\u003c\/p\u003e\n\n\u003cp\u003eThe background is rich chocolate brown, hand-pulled as the base layer. Over this, Fowler builds a collaged dreamscape: cream swirling graffiti clouds drift across the upper left, a golden star compass spins mid-composition, fragments of vintage school readers peek through at the base—children at desks, forgotten textbook illustrations from another era. The girl herself is rendered in bold pop-art style, black outlines defining her silhouette with graphic confidence.\u003c\/p\u003e\n\n\u003cp\u003eThis is an original artwork. Not part of an edition. A one-off.\u003c\/p\u003e\n\n\u003cp\u003eThe paper stock carries weight—you feel the tooth of it, the way each layer of ink sits distinct. Fowler builds this piece through multiple screen passes: that chocolate brown first, then the collaged background elements in cream and gold, the pink dress requiring careful registration, the turquoise sleeves, finally those precise black outlines and details pulled last. Each layer dried between passes. Each colour mixed by hand. The polka dots—hand-cut stencil work, probably six or seven individual dots punched from the screen.\u003c\/p\u003e\n\n\u003cp\u003eThere's nostalgia here, but it's not sentimental. The vintage school imagery collides with street art energy—graffiti clouds, bold colour, that urban rawness. It references Lichtenstein's pop sensibility but grounds it in something more personal, more British, more layered. The girl could be from a 1960s reading primer, but she's been pulled into now, into a world of spray paint and screenprint ink.\u003c\/p\u003e\n\n\u003cp\u003eFowler's Central Saint Martins training shows in the composition—nothing accidental, every element earning its place. Twenty-six years of pulling screens means knowing exactly when to stop, when one more layer would kill it.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583979663746,"sku":"OLI-176","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/16_e79ce474-bad8-4629-bb16-644b0f81f9e1.jpg?v=1776882426"},{"product_id":"ride-the-wave-no-2-original-artwork","title":"Ride The Wave No.2 - Original Artwork","description":"\u003cp\u003eA young woman stands defiant and joyful at the centre of a psychedelic storm. This is \u003cem\u003eRide The Wave No.2\u003c\/em\u003e, and she's doing exactly that—surfing through swirling ribbons of hot pink, electric yellow, tangerine orange, and olive green that curl and cascade around her like liquid colour. Her bob haircut and patterned mini-dress place her firmly in the late 60s, but the energy is timeless. She's smiling. She's ready.\u003c\/p\u003e\n\n\u003cp\u003eThe composition pulses with movement. Those sweeping wave forms aren't just decorative—they're structural, built from multiple overlapping layers that create depth and optical vibration. Look at the left side: circular motifs float like bubbles or planets, printed in translucent purples and pinks that shift depending on what's beneath. The background radiates outward in streaks of red, yellow, and blue, while the foreground anchors everything with darker, earthier tones at the base.\u003c\/p\u003e\n\n\u003cp\u003eThis is an original screenprint—hand-pulled, one-of-a-kind. Not part of an edition. The layering here is complex: at least eight to ten separate screens, possibly more. You can see the evidence in the registration marks bleeding at the edges and in the way halftone dots overlap to create new optical colours. The black line work defining the figure was likely printed late in the sequence, sitting crisp on top of the chromatic chaos beneath. Each pass through the press adds another dimension—transparent inks build into luminous, saturated fields where they overlap.\u003c\/p\u003e\n\n\u003cp\u003ePrinted on heavyweight art stock that can handle this kind of punishment. The surface texture shows through in places, visible in the way certain inks sit differently depending on pressure and squeegee angle. This is what 26 years of experience looks like: controlled chaos, technical mastery disguised as spontaneous joy.\u003c\/p\u003e\n\n\u003cp\u003eThe inspiration is clear—British psychedelic poster art, the optimism of 1967, the moment when pop culture exploded into full Technicolor. But filtered through a contemporary lens. The figure feels both nostalgic and current, like she's been riding this wave through decades and just emerged on the other side.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56583990018434,"sku":"OLI-190","price":1750.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/15_402a55c5-e56b-4bdf-bafa-4aed88bc5944.jpg?v=1776882802"},{"product_id":"you-want-some-original-artwork","title":"You Want Some? Original Artwork","description":"\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAcross this whole collection, perfection was never the point. The making of it was the art itself. The computer got turned off. The handmade positives came back. Something that had been buried under two decades of technical discipline came back with it, a childhood curiosity, an instinct to react rather than control. These works are the result of that explosion.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eYou Want Some? is where that explosion is loudest.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eThe flower is the anchor. One motif, locked in, running through a riot of hot pinks, electric blues, acid yellows and dense layered greens. Bold blooms with ringed circular centres crowd and overlap across the whole composition. Leaves push outward with raw graphic confidence. The background drips and collides and refuses to resolve. The ink drips. The registers shift. Every one of those moments is precisely the point.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eMounted on a found wooden board from the local community. Handmade birch float mount frame, 566x773mm, 30mm depth. Signed front and back. Certificate of authenticity included.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56597299331458,"sku":"OLI-200","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_8527.jpg?v=1777461010"},{"product_id":"more-please-original-artwork","title":"More Please - Original Artwork","description":"\u003cp\u003e\u003cstrong\u003eMore Please\u003c\/strong\u003e is a declaration. It is Oli Fowler at his most liberated, most present, and most unapologetically himself.\u003c\/p\u003e\n\n\u003cp\u003eFor a long time, Oli's career was defined by an exhausting climb toward technical perfection, pushing screen printing to a mechanical summit where results were so flawless they felt sterile and indistinguishable from digital output. That total control stripped away the human vulnerability and soul from the work. So he blew it all up. He initiated a radical deconstruction of his practice and emerged with something far more alive: what he now calls \u003cem\u003ethe beauty of the mess.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003eThat transformation is governed by a strict personal manifesto: \u003cem\u003e\"If it's fun, I want some; if it's a chore, I don't want it anymore.\"\u003c\/em\u003e Those words are not just a philosophy. In \u003cstrong\u003eMore Please\u003c\/strong\u003e, they are the work itself. The phrase floods the background in layer upon layer of hand-pulled golden type, repeating across a deep olive ground until the text becomes texture, becomes wallpaper, becomes the beating pulse beneath everything. Up from that field, a riot of fluorescent flowers erupts in electric pink, burnt orange, blazing red and acid yellow, their petals drawn with the raw physical intuition of a hand no longer restrained by the grid. The forms overlap and collide. The registration is human. That is entirely the point.\u003c\/p\u003e\n\n\u003cp\u003eBy moving away from the computer and returning to handmade positives, Oli reclaimed the tactile spontaneity of the studio, trading sanitised symmetry for the honest, visceral energy of the hand-pulled line and a rediscovered childhood curiosity. The singular motif of the flower acts as an aesthetic constraint, and it is precisely that restriction which unlocks a paradoxical sense of total freedom. Dense textures, colliding layers, fluorescent colours that refuse to be ignored: this is not decoration. It is a celebration of being completely present in the act of making.\u003c\/p\u003e\n\n\u003cp\u003eThe original artwork is presented in a \u003cstrong\u003ehandmade birchwood cladded float mount frame, 695 x 955mm with a 70mm depth.\u003c\/strong\u003e It is signed on both the front and the back and comes with a certificate of authenticity. The frame carries the honest imperfections of real materials, anchoring the vibrant chaos of the ink in the physical history of the world it came from.\u003c\/p\u003e\n\n\u003cp\u003eThis body of work is a defiant rejection of the boxes and labels typically imposed on artists. It leans instead into the versatile, endlessly curious philosophy of the maker who refuses to be defined. These pieces are not just prints. They are proof that master-level curiosity is the only route to true happiness in the act of making. \u003cem\u003eMore Please\u003c\/em\u003e does not ask for your attention politely. It takes it.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56597516517762,"sku":"OLI-280","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_8635.jpg?v=1777462658"},{"product_id":"summer-camp-original-artwork","title":"Summer Camp - Original Artwork","description":"\u003cp\u003e\u003cem\u003eSummer Camp\u003c\/em\u003e is where the manifesto lives on the surface. Look at it and you will see the words right there, bold and unapologetic at the base of the piece: \u003cstrong\u003eIF IT'S FUN I WANT SOME.\u003c\/strong\u003e That is not a caption. That is the engine. After over two decades of pushing screen print toward a kind of mechanical perfection, toward results so technically flawless they had begun to feel cold and indistinguishable from a digital file, Oli made a decision to tear the whole thing down and start again from instinct. This original artwork is the living proof of that decision.\u003c\/p\u003e\n\u003ch3\u003eThe Beauty of the Mess\u003c\/h3\u003e\n\u003cp\u003eFor a long time, the climb toward total control defined everything. And when Oli reached that summit, he found something unsettling waiting there: sterility. The human vulnerability had been ironed out. The soul had gone quiet. So he put down the computer, picked up handmade positives, and let raw physical intuition back into the room. \u003cem\u003eSummer Camp\u003c\/em\u003e is what that freedom looks like when it detonates in fluorescent colour. Cascading blooms in electric purple, acid yellow, hot pink and cyan explode upward from the surface, layer upon layer of translucent ink building a density that no digital process could replicate. The flower is the singular motif, the only constraint, and that restriction is precisely what makes the rest feel completely unhinged in the best possible way. A paradox Oli has fully leaned into.\u003c\/p\u003e\n\u003ch3\u003eA Found Board, a Real History\u003c\/h3\u003e\n\u003cp\u003eThe work is mounted on a found wooden board, a repurposed material sourced from within the local community. This is not a stylistic affectation. It is a philosophical choice. The physical imperfections of that board, its grain, its age, its marks, anchor the riot of ink to something that has already lived in the world. The vibrant chaos of the print does not float in a vacuum. It sits on history. The whole piece then lives inside a \u003cstrong\u003ehandmade solid oak float mount frame\u003c\/strong\u003e at \u003cstrong\u003e660 x 900mm with a 40mm depth\u003c\/strong\u003e, which gives the work the presence on a wall that it demands.\u003c\/p\u003e\n\u003ch3\u003eSigned, Certified, Unrepeatable\u003c\/h3\u003e\n\u003cp\u003eThis is not a body of work interested in boxes or labels. Oli's philosophy here is proudly that of the Jack of all trades, the maker who refuses to be filed away neatly. \u003cem\u003eSummer Camp\u003c\/em\u003e is a celebration of being present in the studio, of childhood curiosity reclaimed in adult hands. Every hand-pulled mark carries that energy. The repeated ghost text behind the flowers, the same words echoing across the gold ground before they announce themselves in white three-dimensional letters below, the whole composition is one coherent shout: joy is the point. Making is the point. \u003cstrong\u003eThis piece is signed on both the front and back\u003c\/strong\u003e and comes with a \u003cstrong\u003ecertificate of authenticity\u003c\/strong\u003e. There is only one.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56597773222274,"sku":"OLI-281","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_8505.jpg?v=1777463328"},{"product_id":"writers-block-original-artwork","title":"Writers Block - Original Artwork","description":"\u003cp\u003eAfter 26 years honing his craft, Oli Fowler arrived at a place of technical perfection. Every layer registered. Every edge was clean. Every pull was controlled. And then it hit him. The work had become flawless in the way a spreadsheet is flawless. The soul had quietly left the building.\u003c\/p\u003e\n\u003cp\u003eSo he burned the rulebook. He stepped away from the sanitised precision of the computer and went back to handmade positives, raw physical intuition, and the visceral, honest energy of the hand-pulled line. He calls it \u003cem\u003ethe beauty of the mess\u003c\/em\u003e. The manifesto that drives this entire body of work reads simply: \u003cstrong\u003e\"If it's fun, I want some; if it's a chore, I don't want it anymore.\"\u003c\/strong\u003e That line does not just appear in his studio notebook. Look at the image. It is printed directly into the work, cascading across the background in bold, overlapping type, repeating and shifting and bleeding into itself like a thought you cannot stop thinking.\u003c\/p\u003e\n\u003ch3\u003eWhat You Are Looking At\u003c\/h3\u003e\n\u003cp\u003eThe composition hits you immediately. A riot of fluorescent reds, electric yellows, acid greens, sky blues, and hot pinks collide across the surface in dense, layered screenprint. Bold graphic flowers erupt from the centre, their petals rendered with a joyful, almost childlike directness that is entirely deliberate. This is not naivety. This is a master printmaker choosing to reconnect with the freedom of someone who has not yet learned to be afraid of making mistakes. The colours bleed and overlap. Layers sit fractionally off register. Ink textures shift and breathe across the surface in ways no digital file could ever replicate or predict.\u003c\/p\u003e\n\u003cp\u003eThe flower is Oli's singular aesthetic anchor throughout this body of work, a constant thread running through the chaos. It keeps the work grounded even as everything around it explodes with energy.\u003c\/p\u003e\n\u003ch3\u003eThe Object Itself\u003c\/h3\u003e\n\u003cp\u003eThis is an original screenprint, meaning there is only one. It is mounted on a found wooden board salvaged from the local community, a material choice that is as considered as any ink or colour decision. The board carries its own history, its own imperfections, its own texture. It mirrors the honesty of the art it holds. The depth of 70mm gives the piece a powerful, sculptural presence on the wall.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize:\u003c\/strong\u003e 695 x 955mm, 70mm depth\u003c\/p\u003e\n\u003cp\u003eThis piece is signed on both the front and the back, and comes with a certificate of approval. It is original artwork, one of a kind.\u003c\/p\u003e\n\u003ch3\u003eWhy This Piece Matters\u003c\/h3\u003e\n\u003cp\u003eWriters Block represents the moment Oli Fowler stopped performing perfection and started making work that felt alive again. It is a defiant rejection of the boxes people use to categorise artists, leaning fully into the idea that being present in the studio, reacting honestly to ink on paper, is the most truthful thing a printmaker can do. You are not buying a reproduction of a feeling. You are buying the feeling itself, pulled by hand, layered in ink, fixed in time.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56597851931010,"sku":"OLI-282","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_8627.jpg?v=1777464025"},{"product_id":"etcha-sketcha-original-artwork","title":"Etcha Sketcha - Original Artwork","description":"\u003ch3\u003eEtcha Sketcha — Original Artwork\u003c\/h3\u003e\n\u003cp\u003e\u003cem\u003eIf it's fun, I want some.\u003c\/em\u003e It's not just a line of text blazing across the bottom of this piece — it's a manifesto. A declaration. The entire reason this work exists.\u003c\/p\u003e\n\u003cp\u003eAfter years of pushing screen printing toward a state of technical perfection, I hit a wall. The work was flawless. Clean. Precise. And completely dead. It looked like something a computer had spat out, not something a human had made with their hands and their gut. So I stopped. I walked away from the sanitised precision of the digital process and chose to embrace what I now call \u003cstrong\u003ethe beauty of the mess.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhat you're looking at is the result of that radical shift. A riot of fluorescent hot pink, teal, yellow and blue — explosive, layered, alive. Handmade positives. Raw physical intuition. No safety net. The flowers that dominate the composition are my constant — a single aesthetic thread running through the chaos, grounding the energy without taming it. Look closely and you can feel the layers colliding, the ink making its own decisions, the hand-pulled line doing exactly what a hand-pulled line should do: something a machine never could.\u003c\/p\u003e\n\u003cp\u003eThe left edge tears open into a frenzy of colour — greens, reds, fragments of previous pulls bleeding through. That's not accident, that's honesty. That's the studio speaking. The bold, graphic flowers rise out of it with a kind of joyful defiance, their white petals ringed in yellow haloes, their dark teal forms stacked and layered with a density that rewards every second you spend in front of it.\u003c\/p\u003e\n\u003cp\u003eThis is \u003cstrong\u003eoriginal artwork, 2026.\u003c\/strong\u003e There is no edition. There is no other one. It is presented in a \u003cstrong\u003ehandmade float mount oak cladded frame\u003c\/strong\u003e — salvaged, tactile, material history built right into the piece. The frame alone is an object worth owning. Together they are something else entirely.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize: 695 x 955mm, 70mm depth.\u003c\/strong\u003e This is a large, commanding, room-defining work. It arrives signed on the front and the back, and comes with a certificate of authenticity.\u003c\/p\u003e\n\u003cp\u003eThis is not a series made for the market. It's a series made because making it felt like rediscovering childhood — that pure, uncomplicated joy of reacting to ink on paper with no agenda other than the work itself. A master-level exploration of being present. Of refusing the boxes and labels. Of being a Jack of all trades and proud of every single one.\u003c\/p\u003e\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. 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The composition fizzes with a kind of childhood energy, the kind you stop letting yourself feel as an adult. This piece gives it back to you.\u003c\/p\u003e\n\n\u003cp\u003eThe flower is a constant thread through Oli's work right now — a singular aesthetic anchor running through the chaos, grounding the riot of colour and texture into something coherent without ever making it feel safe or predictable.\u003c\/p\u003e\n\n\u003ch3\u003eThe Object Itself\u003c\/h3\u003e\n\n\u003cp\u003eThis is a unique original. It is presented in a \u003cstrong\u003ehandmade oak cladded frame measuring 695 x 955mm with a 70mm depth\u003c\/strong\u003e — a substantial, commanding presence on any wall. The frame itself is crafted from found wooden board salvaged from the local community, which means the object carrying this work has its own material history, its own imperfections, its own story. That is entirely intentional. The frame and the print belong to the same honest, handmade world.\u003c\/p\u003e\n\n\u003cp\u003eThe work is \u003cstrong\u003esigned on both the front and the back\u003c\/strong\u003e and comes with a \u003cstrong\u003ecertificate of authenticity\u003c\/strong\u003e. It was made in 2026.\u003c\/p\u003e\n\n\u003ch3\u003eWhy This Matters\u003c\/h3\u003e\n\n\u003cp\u003eThis is not a print that fits neatly into a category. It is not fine art in the stuffy sense, not street art in the obvious sense, not pop art in the nostalgic sense. It is all of those things and none of them. It is the work of someone who has consciously rejected the boxes artists get put in and leaned hard into being a \u003cem\u003eJack of all trades\u003c\/em\u003e — present in the moment, reacting honestly to ink on paper, chasing creative happiness as the only metric that actually counts.\u003c\/p\u003e\n\n\u003cp\u003eWho is this print for? Collectors who understand that hand-pulled means unrepeatable. Once it's gone, it's gone. Own a piece of British screenprint craft.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56599247192450,"sku":"OLI-283","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_8591.jpg?v=1777467666"},{"product_id":"a-long-long-time-ago-original-artwork","title":"A long Long Time Ago.. - Original Artwork","description":"\u003cp\u003e\u003cstrong\u003eA Long Long Time Ago..\u003c\/strong\u003e is a one-of-a-kind original screenprint that arrives at the end of a deliberate creative revolution. For years, the practice behind this work was driven by a relentless pursuit of technical perfection — screens aligned to the millimetre, colours mixed to exact formulas, registration so tight it could have been mistaken for a machine. And that was precisely the problem. The work started to feel like it had been made by one.\u003c\/p\u003e\n\n\u003cp\u003eThe decision to tear all of that down was not made lightly, but it was made honestly. Returning to handmade positives, raw instinct and the kind of messy, joyful studio energy that most artists spend their careers trying to eliminate, this piece was born from a new manifesto: \u003cem\u003eif it is fun, I want some; if it is a chore, I do not want it anymore.\u003c\/em\u003e That philosophy is visible in every single layer you look at here.\u003c\/p\u003e\n\n\u003cp\u003eLook at those flowers. Five bold blooms burst from the surface in pinks, whites and reds, their petals loose and confident, their dot-filled centres carrying that unmistakable electricity of something drawn by hand and pulled through a screen with genuine feeling. The background is a collision of deep purples, scorched oranges, fluorescent magentas and moody blues — layered, dense and alive in a way that a digital print simply cannot replicate. Texture is everywhere. Lines dance across the composition. The ink does what ink wants to do, and rather than fighting it, it has been celebrated.\u003c\/p\u003e\n\n\u003cp\u003eThe flower itself is used here as a deliberate constraint — a recurring motif that creates just enough structure to let everything else explode freely around it. It is the anchor in the chaos. It is the reason the energy holds together rather than flying apart.\u003c\/p\u003e\n\n\u003cp\u003eThis original is mounted onto a found wooden board salvaged from the local community, giving the piece a physical history before it even reaches your wall. 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Raw intuition took over.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eLetdown is what happened next.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eFluorescent stripes, yellow, pink, green, orange, layered so thick the background hums. There is a glitch to it. The kind of fuzzy, fractured quality you get from an old TV set losing signal, something familiar but slightly wrong, slightly alive. A riotous bouquet of flowers erupts out of that static, blue, purple and white, each bloom edged in hot yellow-gold.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal leading-[1.7]\"\u003eAcross this whole collection, the making was the art itself. The mindset, the return to childhood curiosity, the decision to stop controlling and start reacting. These works are the result of that explosion. 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Screen printing pushed to its absolute mechanical limits. Flawless registration. Total control. And then, somewhere at that supposed summit, the soul quietly left the building. The prints looked perfect and felt like nothing. That realisation was the beginning of everything you see here.\u003c\/p\u003e\n\n\u003cp\u003eThis piece belongs to a body of work built on a single, vital manifesto: \u003cem\u003eif it's fun, I want some; if it's a chore, I don't want it anymore.\u003c\/em\u003e It sounds simple. It was actually a survival strategy. A month of working in total secret, no briefs, no audience, no commercial pressure. Just ink, instinct, and the raw energy of the studio. The result was a week where years of pent-up creativity detonated all at once.\u003c\/p\u003e\n\n\u003cp\u003eLook at what that explosion looks like. 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Not because I was precious about it, but because that's how long it takes to build something with 10 to 12 layers of hand-cut stencils, wavy lines, and painted backgrounds that actually feel heavy. The base started with authentic 1970s American magazines, chopped up and turned into handmade positives. From there I kept adding, spray paint, pastels, acrylics, whatever was within reach in the studio. The whole thing is meant to look old. Dusty. Like you pulled it off a forgotten shelf somewhere in 1974. The dark background carries that weight, and the red stripe at the bottom cuts right through it. The flower at the center isn't decorative. It holds something, a feeling of internal pride that doesn't need permission. This is what six to eight months of layering looks like when you stop trying to control it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne of one.\u003c\/strong\u003e Original on \u003cstrong\u003eSomerset Satin Tub Sized 400gsm\u003c\/strong\u003e, approximately \u003cstrong\u003eA1\u003c\/strong\u003e. Coated in UV satin varnish. If it's going somewhere with direct sun, frame it behind UV glass.\u003c\/p\u003e\n\u003cp\u003eHand made stained birch Clad float mount frame made by my friend Tom over at Clark\u0026amp;Prince \u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56716849840514,"sku":"OLI-A01","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_0226.jpg?v=1781796544"},{"product_id":"on-my-travels-original-artwork","title":"On My Travels - Original Artwork","description":"\u003cp\u003eOn My Travels started as a playground, nothing more than testing leaves and stencils until the tropical shapes began reading like a dream, a landscape from somewhere I'd never actually been. \u003cbr\u003e\u003cbr\u003eTwo big flowers, pink and purple, sit on top of each other, ringed in metallic silver that runs round the outside and straight back into the petals. Screen prints, hand-cut stencils, spray paint, pastels, layer on layer until the surface couldn't take any more, so I went in with a screwdriver and acetone, scraped back the black, and let what was underneath show through. The background split itself doing that, the bottom turned ocean-blue, the top stayed dark, and it ended up looking like night water. I decided to keep it. The accident is the best part. \u003cbr\u003e\u003cbr\u003eB2, 500 x 700mm, framed in stained birch by Tom at Clark \u0026amp; Prince.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56716904071554,"sku":"OLI-A02","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_0228.jpg?v=1781799071"},{"product_id":"cowabunga-original-art","title":"Cowabunga - Original Artwork","description":"\u003cp\u003e\"If it's fun, I want some. 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I kept going as long as it was fun, stopped when the tape ran out, which is the whole idea behind this collection. At the very end I added a reddish sky , and looking at it then it read like a sunset over a cornfield, maybe a cornfield on a different planet.\u003c\/p\u003e\n\u003cp\u003eA1 in size, masking tape, spray paint and screenprint layer on layer. 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Another piece born from playing with inks and chemicals I hadn't tried before, and I kept going because I was enjoying it.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003ePart of \u003cem\u003eIf It's Fun I Want Some\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\"\u003eAround A1 in size. Framed in a handmade stained birch float mount frame from Clark \u0026amp; Prince.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56716951060866,"sku":"OLI-A05","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_0229.jpg?v=1781803228"},{"product_id":"when-it-snows-original-artwork","title":"When It Snows - Original Artwork","description":"\u003cp\u003eThis one started life as a live gallery piece, then got rolled up and put away for a while. When I brought it back into the studio I cut it down, turned it upside down and went at the surface again. Layers of printing, painting, spray paint and pastel on top and then the floral motif, until it turned into something else entirely.\u003c\/p\u003e\u003cp\u003eIt ended up icy. Frosted whites, pastel tones like clouds, the flowers almost translucent like they're made of ice. The leaves are sharp, line work picked out in white, and underneath it all there are warm neon colours bleeding through, giving it a Christmas feel I didn't plan for. That's the bit I love, you start somewhere and the piece tells you where it's actually going. If it's fun I want some, and reworking this one was fun from start until the fun ran out.\u003c\/p\u003e\u003cp\u003ePart of a collection built on the beauty of the mess. After years mastering technical screen printing, I stripped it all back, raw and visceral, hand-pulled lines and fluorescent colour over the polish. 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Framed in a handmade float mount frame, stained dark birch, made by Tom at Clark \u0026amp; Prince.\u003c\/p\u003e\u003cp\u003ePlease get in touch if you'd like to know more.\u003c\/p\u003e\u003cp\u003eVarnished in a UV satin finish.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56717892354434,"sku":"OLI-A06","price":3000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_0230.jpg?v=1781870111"},{"product_id":"snakes-in-the-grass-original-artwork","title":"Snakes In The Grass - Original Artwork","description":"\u003cp\u003eI learned screen printing for twenty years just to get to a moment where i could tear it up and start again.\u003c\/p\u003e\n\u003cp\u003eThis piece started with a clean run of those flat, heavy pop flowers that always take me back to my childhood and the bold 1970s Swedish illustrations my mum used to show me. A perfect, clean print is great, but I wanted more texture.\u003c\/p\u003e\n\u003cp\u003eI chopped the bottom half of the print away and rebuilt it as a collage using off cuts from other artworks from the series, I then threw down layers of spray paint, background washes, and raw pastel marks. If you look closely at the green base, you can see the actual physical scratches from the pastels catching the light against the glossy screen-print ink. I loved the physical grind of it. I loved building layer upon layer  for weeks until they finally burst out in the studio. The stenciled text at the bottom says exactly what I was feeling at the time: I want some if it's fun. If it's fun I want.\u003c\/p\u003e\n\u003cp\u003eThe framing had to match that energy. It is housed in a heavy, seven-centimeter deep oak clad frame that I stained myself using an analog mixture of wire wool and vinegar. The solution reacts with the wood to pull out a beautiful, dark, weathered grain. \u003cbr\u003e\u003cbr\u003eAt roughly 900 by 600 millimeters, it is a big, solid, physical object. Find a solid wall with the right light to let those textures breathe. It is built to outlive us both.\u003c\/p\u003e","brand":"OLI FOWLER ART","offers":[{"title":"Default Title","offer_id":56718193426818,"sku":"OLI-A07","price":4000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0079\/5620\/1525\/files\/IMG_9231_Original.jpg?v=1781875304"},{"product_id":"a-feeling-of-pride","title":"A Feeling Of Pride - Original Artwork","description":"\u003cp\u003eThis piece started with a heavy collision of analog graphics, old music sheets, and a lyric that stuck in my head: \u003ci\u003eIt's a feeling of pride that you feel inside\u003c\/i\u003e. I screen-printed those layers over flashes of neon pink and bright teal, then pulled a set of flat pop flowers right over the top.\u003c\/p\u003e\n\u003cp\u003eInstead of cutting the paper apart, I used a thick, opaque cream paint to block out the background by hand. I love how the heavy brushstrokes frame the bouquet, keeping all that chaotic energy locked inside the central shape. If you catch it in the daylight, you can see the physical ridges of the paint cutting against the flat ink layers underneath. It takes me back to the tactile, pre-digital graphics I obsessed over as a kid.\u003c\/p\u003e\n\u003cp\u003eThe framing had to match that weight. It is housed in a seven-centimeter deep oak clad float frame that I stained myself using an analog mixture of wire wool and vinegar to pull out a dark, weathered grain. At roughly 900 by 600 millimeters and 70mm deep it is a big, solid object. satin finish UV varnish. Find a solid wall with the right light. 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