Yellow Stagshorn (Calocera viscosa)

from £50.00

Prints are available in large, medium or small. Printed on Titanium Lustre Metallic paper (280gsm silver resin coated base) using LUCIA PRO II pigment inks for stunning archival quality. The paper has a beautiful metallic sheen to it which makes the images shimmer under light.

Print & Frame dimensions:

Large: Print: 50×50cm . Frame: Width: 52 cm, Height: 6 cm, Length: 52 cm, Weight: 2.09 kg

Medium: Print: 35×35cm . Frame: Width: 37 cm, Height: 6 cm, Length: 37 cm, Weight: 1.22 kg

Small: Print: 25×25cm . Frame: Width: 27 cm, Height: 6 cm, Length: 27cm, Weight: 0.85 kg

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Prints are available in large, medium or small. Printed on Titanium Lustre Metallic paper (280gsm silver resin coated base) using LUCIA PRO II pigment inks for stunning archival quality. The paper has a beautiful metallic sheen to it which makes the images shimmer under light.

Print & Frame dimensions:

Large: Print: 50×50cm . Frame: Width: 52 cm, Height: 6 cm, Length: 52 cm, Weight: 2.09 kg

Medium: Print: 35×35cm . Frame: Width: 37 cm, Height: 6 cm, Length: 37 cm, Weight: 1.22 kg

Small: Print: 25×25cm . Frame: Width: 27 cm, Height: 6 cm, Length: 27cm, Weight: 0.85 kg

Prints are available in large, medium or small. Printed on Titanium Lustre Metallic paper (280gsm silver resin coated base) using LUCIA PRO II pigment inks for stunning archival quality. The paper has a beautiful metallic sheen to it which makes the images shimmer under light.

Print & Frame dimensions:

Large: Print: 50×50cm . Frame: Width: 52 cm, Height: 6 cm, Length: 52 cm, Weight: 2.09 kg

Medium: Print: 35×35cm . Frame: Width: 37 cm, Height: 6 cm, Length: 37 cm, Weight: 1.22 kg

Small: Print: 25×25cm . Frame: Width: 27 cm, Height: 6 cm, Length: 27cm, Weight: 0.85 kg

The Yellow Stagshorn (Calocera viscosa) tells a layered story of transformation and historical erasure. Rising like tiny golden antlers from fallen conifer wood, these fungi emerge from trees that were themselves tools of forgetting - fast-growing conifers hastily planted to green-wash former colliery sites, to quickly cover the visual scars of industrial heritage. Yet in breaking down these planted trees, the Stagshorn participates in a deeper form of reclamation. Through my macro lens, their translucent, branching forms become both beautiful and profound: here is nature's patient resistance to simplified narratives of recovery. As they slowly decompose the conifer remains, they're not just recycling matter but participating in a more honest form of healing - one that doesn't seek to hide the past but transforms it into new possibilities. Their presence marks a kind of double transformation: the manufactured forest cover giving way to more diverse ecosystems, as if nature itself is correcting our hasty attempts to rewrite history.

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