Indigo Bunting

By Marc Alexander from his ‘The Secret Forest’ exhibition. ‘Indigo Bunting’, oil and gold leaf on canvas, 30cm by 30cm, (2016).


Indigo Bunting

Early spring and the beautiful blue cardinals can be seen about the Secret Forest. Having just migrated from the far North the small indigo bunting sings from dawn to dusk atop the tallest perch insight or foraging for thistle or nyjer seed and insects. Its breeding season and these busy little birds will need to replenish their energies after the long nighttime flight. Yes, they migrate by night, amazingly using the stars to navigate their way. The all-blue male Indigo Bunting sings with cheerful gusto and fills the forest with dashes of blue.
Like all other bluebirds, Indigo Buntings lack blue pigment. Their jewel-like colour comes instead from microscopic structures in the feathers that refract and reflect blue light, much like the airborne particles that cause the sky to look blue.


The Secret Forest

I have always been interested in forestry, particularly its aspects of conservation and regeneration. The inspiration for this body of work stems from my love and gratitude toward God for His marvellous creation. I hope to share this appreciation with friends, family and my supporters, specifically drawing attention to the need to protect and care for our forest’s rich biodiversity and fragile ecosystems.

The Secret Forest is a paradise of my imaginings, an ideal and wondrous world, alive with many fascinating life forms. I often get lost in its wooded beauty, trailing shadowy pathways and streams, searching every nook and cranny amongst tangled root systems and moss-covered rocks just so that I can feast my eyes on its hidden treasures. This is a place where the feral imagination could easily envisage the likes of, elves and tree Ents. A place entirely unspoiled by mankind and the age of machines.


Archival Prints

Many of Marc’s artworks are available as fine art digital prints. Professionally photographed and printed on large format inkjet printers, these prints are limited edition numbered bottom left and signed bottom right. The paper used is 320g Hahnemuhle archival watercolour paper or Van Gogh cotton canvas. The process employs fade resistant, archival inks, which boast a 100+ year fade-proof guarantee.

These prints are also available in varying sizes. The paper prints are sold plastic wrapped on an acid-free foamcore backing board. The prints on canvas can be provided stretched or rolled in a core for easy transporting. The canvas print is treated with a high quality scratch resistant matt art-sealant. Directly behind the stretched canvas print is a fixed board which gives the frame rigidity, prevents warping and ensures the frame hangs flush against the wall. Large frames are cross braced to further prevent warping.



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