A couple of new — and rather special — paintings to share with you today.
When we first set out on the long road that has become Otherwurlde, Ann and I were quite clear on one point: we wouldn’t take commissions. This world was ours to shape — its stories, its rules, its direction. It wasn’t something we felt could easily accommodate another hand.
But time has a way of softening even the firmest positions.
Over the years, we came to know one of our collectors rather well — someone who has followed the work closely and understood what we’ve been trying to build here. When the opportunity arose to create something to mark a significant wedding anniversary, we found ourselves approaching the idea differently. Not as a departure from Otherwurlde, but as an extension of it.
Nearly three months on — with more revisions than we care to admit — we’re proud to share the result: “The Quiet Between Worlds…” A painting shaped not just by the brief, but by the quiet insistence that it still belong, fully and truthfully, within the realm.
But before we step into that…
Long-time collectors will know that, from time to time, Ann returns to smaller works between larger pieces — something of a reset. A chance to explore a colour, test an idea, or simply spend time with a character who doesn’t yet have a wider story to inhabit.
That’s exactly how “A Surveyor of Elsewhere…” came to be.
Thank you, as ever, for your patience. We’re both relieved — and quietly excited — to finally share these with you.
With our warmest wishes,
Gary & Ann
Let’s begin, shall we?
If you spend any time within the Otherwurlde, you’ll notice a recurring thread: creatures in motion. Travellers on a path. Pilgrims crossing unseen distances. From Pearls of Wisdom to The Pilgrims, there is always the sense of somewhere to reach — and something drawing them onward.
Which led us to a quieter question…
If so many are following the road, who first set it down?
In the pauses between work on the commission you’ll see shortly, Ann turned her attention to that idea — to the unseen hand behind the map. The one out in the margins, charting what others will one day take for granted.
It seems, the task falls to this rather distinguished fellow: ‘A Surveyor of Elsewhere…’
Let’s take a closer look…
Although only a small painting, Ann found room for some marvellous touches.
Such as this detail – the compass-brooch, with little emeralds at the cardinal points. Immediately this identifies him as a valued member of the ‘Cartographer’s Guild’. Never strictly lost, he is nonetheless often on the lookout for recognisable landmarks ‘just to be sure’!
Here are a few maps poking out from his knapsack. Whether he’s drawn them himself whilst on this particular jaunt into the wilds, or whether he’s taking them to someplace where they’re needed, we’ll leave that for you to decide! Ann did a great job here, giving them foxed and creased edges and you can just make out the boundaries of what look like islands?
We’ve taken to calling him Rufus — though whether that is his true name, or simply the one he allows us to use, is another matter.
What is certain is his standing. The red fez is no small detail within the Otherwurlde; long-time collectors will recognise it as a mark of status. This is no ordinary traveller. Whatever roads are being drawn, he moves among them with quiet authority.
We’re particularly fond of the monocle and high collar — a decidedly dashing combination, and entirely in keeping with his role.
One final note: “A Surveyor of Elsewhere…” will remain an Original Artwork only, in keeping with other works of this scale.
As mentioned in the introduction, Ann and I resisted commissions within the Otherwurlde for many years. We received a number of serious enquiries over that time — all of which we declined. The integrity of the world mattered, and we were careful not to compromise it.
Peter and Christine proved to be the exception.
When we were approached with the idea of marking their fiftieth wedding anniversary through a painting, it felt — for the first time — appropriate to say yes. They have been long-standing collectors of the work, living with several pieces over the years, and this felt less like a departure… and more like a continuation.
The brief itself was simple: to include their two Parson’s Jack Russells, and to situate the scene within an Alaskan-inspired setting. From there, the work evolved as all Otherwurlde pieces do — finding its own logic, its own balance.
The result, “The Quiet Between Worlds…”, is both deeply personal and, we think, a meaningful step forward in Ann’s painting.
Alaska…
Perhaps the last place you’d expect to encounter a pair of terriers — and yet, here they are: Teasel and Bracken.
Ever alert, Teasel is already attuned to the moment unfolding around them, while Bracken remains, for now, absorbed in her own small world.
This also gives us a fine view of Teasel’s headpiece — delicately handled, with turquoise notes that quietly echo the cooler purples of the twilight, set against those fleeting washes of gold filtering through the trees
Bracken, however, has other preoccupations on this particular evening — chief among them, a familiar prize: a well-worn wine cork, firmly held and thoroughly enjoyed.
While both terriers share the same turquoise coat pattern, Ann has distinguished Bracken with a softer, golden headpiece — gently burnished by the low sun and lending a quiet warmth to her character.
Look a little closer, and the pair reveal further layers of thought. Each cloak is fastened with a custom clasp — a teasel for Teasel, a bracken frond for Bracken — and each is grounded by a subtle, real-world echo. Bracken rests among bracken, while Teasel’s paw finds a true teasel stem.
Small details, perhaps — but entirely in keeping with how this world holds together.
Behind the two dogs rises a brown bear — an encounter that, in any other setting, might give pause.
Here, however, its presence is tempered. Set into the crown is an owl pendant — a deliberate choice. Throughout the collection, the owl has come to signify protection; a quiet, watchful force rather than something to be feared. Long-time collectors may recall Everyday Miracles, where this motif first appeared. Its return here is intentional, reframing the bear not as a threat, but as a guardian presence within the scene.
This also offers one of the clearest passages of light in the painting. The low sun catches across the bear’s fur, laying in those warm, burnished tones against the cooler ground. It was an area that demanded careful handling — several passes, adjustments, and restraint — but one that ultimately anchors the atmosphere of the piece.
Before we move on, you may have already noticed the white raven.
A late addition, and not without its challenges — but Ann’s solution was characteristically deft. Set within the snow-laden tree to the left, it sits just on the edge of perception; at a glance, almost lost to the branches, and yet entirely present once seen. It now feels less like an insertion, and more like something that had always belonged there.
Opposite, the timber wolf holds its gaze firmly on the scene’s centre.
As with others in the composition, it bears a delicate headpiece, but the eye is drawn just as readily to the gorget at its throat. We’ve explored this form before — most notably in Playing With the Elements — though here the anodised finish carries a cooler authority, reinforced by the wolf’s head motif set into the boss.
And then there are the eyes.
Pale green, steady, and entirely fixed — not simply observing, but registering something of consequence.
At the centre of it all: one of our familiar bubbles — and a hovering bee within.
These have appeared before across the Otherwurlde, each bee acting as a quiet herald; a bearer of something to be understood, rather than explained. Here, the form feels especially resolved — perhaps the most complete iteration since Moonflower. The balance between its delicate armour and jewel-like detailing gives the bee a clarity that holds without overwhelming.
Equally considered is the treatment of the bubble itself. The rim catches and bends the low light in a way that took some persistence to achieve — several attempts, and ultimately a new paint blend, before it settled into place. What you see here is that final balance: the warmth of the setting sun held within something altogether more elusive.
I won’t go into all the various ‘Easter Eggs’ here and the story underpinning the work (those are meaningful only to Pete & Christine), but thought you might like to see this ’50th’ anniversary wreath thoughtfully carved into the fallen log…
In the Otherwurlde, even the wild must sometimes fall still — for there are moments when something older than motion passes through.
Here, beneath fading light, all creatures pause… not to act, but to witness.
As with “A Surveyor of Elsewhere…”, this is not a work that will be reproduced. “The Quiet Between Worlds…” exists as a singular piece — and perhaps all the more meaningful for it.
We felt, however, that it deserved to be shared. Not only for the painting itself, but for what sits behind it — the time, the revisions, the quiet problem-solving that rarely makes it into view. These works have a way of revealing themselves gradually, and this one asked for patience in return.
Which does raise an interesting thought.
Having held the line for so long, and then chosen — carefully — to step beyond it, we’re perhaps a little more open than we once were. Not widely so, and certainly not often… but where there is a genuine alignment of idea, intent, and collector, it’s possible that something similar may find its way into being.
For now, though, we’ll leave that where it belongs — as something to be discovered, rather than pursued.
I say this every time: our weekend stand at Cirencester’s Corn Hall might look impressive these days, but we still struggle for storage. That means we can’t bring everything you might want to see…
Neither Ann nor myself want to disappoint you, so if there’s anything you’d particularly like to see in-person, PLEASE get in-touch ahead of time and we’ll ensure it’s there!
Thank you for staying to the end of this Newsletter…
We know that this one has been a long time coming – perhaps too long! – but we hope you’ll agree that it’s been worth the wait… It’s hard juggling everything at-once in this little business of ours, so we appreciate your patience when things slow down!
Above all, we want to thank you — for your support, your encouragement, and your trust in what we do. It means the world to us, and we couldn’t continue without it. Here’s to keeping the Otherwurlde light burning, together.
