Irene Sanderson

  • Blossom I

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue.

    Box-framed in natural wood from local sustainable source.

    h 84cms x w 126cms

  • Raven Beck, Kirkoswald, Cumbria

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper

    Box-framed in natural wood from local sustainable source:

    H87 x W130cms

  • Blossom III

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue.

    Box-framed in natural wood from local sustainable source.

    h 84cms x w 126cms

  • Ise Jingū Granary

    The rice storehouse for the shrine of the sun goddess Amaterasu-Ōmikami. All the shrine buildings of Ise mimic the architectural features of early rice granaries which may not be used in the construction of any other shrine.

    Sumi and watercolour on Xuan paper mounted on Fabriano watercolour paper onto pine board with starch glue.

    Box-framed in natural wood from local sustainable source.

    h 67cms x w 89cms

  • View from Gabriels Wharfe, South Bank

    Watercolour and watercolour pencil on Japanese Moon Palace paper

    Framed in unstained wood

    h69 x w79cms

  • Shimenawa Izumo Taisha

    Kojiki, the legendary stories of old Japan describe it as the largest wooden structure in Japan for centuries and this giant rope of rice straw remains an echo of this past.

    Sumi and watercolour on Moon Palace paper in stained black wood frame

    h 77cms x w 105cms

  • Hikan Inari Jinja Asakusa Tokyo II

    A type of Japanese shrine for the worship of Inari. Inari is a popular deity associated with foxes, rice, household wellbeing and general prosperity.

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue. Box-framed in natural wood from local sustainable source.

    h 126cms x w 84cms

  • Ise Jingū Naiku I

    The shrine of the sun goddess Amaterasu- Ōmikami, the ultimate mythical ancestor of the Emperor and where she is believed to dwell in these groves of tall cypress trees.

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue. Box-framed in natural wood from local sustainable source.

    h 95cms x w 65cms

  • Miko

    In the past these were priests, soothsayers, magicians, prophets and shamans in the folk religion, the chief performers in organized Shintōism. Nowadays miko assist the priests with shrine functions.

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue. Box-framed in natural wood from local sustainable source.

    h 64cms x w 54cms

  • Blencathra Winter III

    Sumi and watercolour on Moon Palace paper

    Framed in unstained wood

    h98 x w69cms

  • Tatesuna I

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue.

    Box-framed in unstained wood

    h87 x w130cms

  • Tatesuna II

    Sumi and watercolour on Moon Palace paper mounted on Fabriano watercolour paper onto pine board with starch glue.

    Box-framed in natural wood from local sustainable source.

    h 84cms x w 126cms

  • Blencathra V

    Sumi and watercolour on Moon Palace paper

    Framed in unstained wood

    h69 x w78cms

  • Ullswater Winter

    Sumi and watercolour on Moon Palace paper

    Framed in unstained wood

    h50 x w66cms

  • Herdwick Lamb

    Sumi on Moon Palace paper

    Framed

    h53 x w53cms

  • Cotswold Lioness

    Sumi and watercolour on Moon Palace paper Framed

    h44 x w44cms

  • Grouse family

    Sumi and watercolour on Moon Palace paper

    Framed in unstained wood

    h48 x w64cms

Irene Sanderson

I am a painter, illustrator, printmaker and calligrapher, working mainly in ink and watercolour on absorbent papers such as Xuan and washi.

My studio is in the Eden Valley, Cumbria. I study in Britain these days but have travelled to study in Japan and China as well. This background and the difference in the ways of seeing the world, have resulted in a painterly aesthetic that reveals landscapes and the people and creatures that inhabit them, as both mass and energy, familiar and alien, contemporary and timeless. I value above all the immediacy of brush and ink on absorbent paper, as in Far Eastern ink painting whose methods, techniques and approach I have adopted.