Faeries of the Wood is the latest in my triptych series where I attempt to capture a mythological story or concept in three 4-inch tiles.
Faeries in their modern form have been capturing imaginations for two centuries having gained prominence in the Victorian Age. It was at this time that what we now think of as fairies (beautiful young girls with tiny dresses and delicate wings that spend their time flittering about in the woods) took hold. This image of the faery would eventually lead us to the ultimate form of “cute” fairy – Disney’s Tinkerbell.
To say that this is a far cry from the faeries found in works pre-dating the Victorian Age would be an understatement. While the faeries of old might occasionally help out a human, they were just as likely to be malicious tricksters who delighted in toying with the mortals they encountered. They were powerful and wild forces of nature. While the Victorian Age skewed our idea of faeries as beings far more consistently benevolent, they still retain their magic, mystery and deep connection to nature and these are after all the most important aspects of the faerie folk.
I will explore the earlier forms of faeries in future pieces, but decided to start with something more familiar. So, it is from the modern traditions of Ireland, England and France that I drew most heavily when envisioning my Faeries of the Wood triptych.
Faeries of the Wood is limited to 75 signed and numbered castings presented in cold-cast brass. Each piece is hand numbered, signed and mounted in an elegant beaded frame (available in black or aged walnut).
There is a large number of books available to those who are interested in exploring the world of Faeries. One of my go-to sources on the subject is Anna Franklin’s Illustrated Encyclopedia of Fairies. I also enjoy the many books by Brian Froud, whom many consider to be the current embodiment of the faerie spirit.
As always, whether you choose to contact me privately or leave a public comment, I welcome your feedback and suggestions.