Seal

The imagery in *Seal* draws from organic forms observed in the forest—seeds, insect trails, leaf veins—rendered not as idealized specimens but as records of decay and transformation. The work reflects a quiet engagement with cycles of life, where marks left by animals, moisture, and time become integral to the composition. It suggests that nature, not the artist alone, co-authors the final image.

Bowen treated paper as a living medium, burying sheets to absorb soil stains, exposing them to insects, and allowing weather to etch their surfaces. These pre-treated papers then served as grounds for drawing. The resulting lithograph preserves the texture and irregularities of these interventions, merging printmaking with environmental process. The style is intimate and unpolished, emphasizing material history over formal precision.

The portfolio originated from Bowen’s residency in Grizedale Forest, where she spent months working outdoors. The resulting drawings were exhibited in 2000, and the limited edition print set was produced as a catalogue. This version, numbered 17 of 40, was later acquired by the Victoria and Albert Museum, where it remains part of the national collection of contemporary prints and artist books.

Bowen’s practice aligns with late 20th-century British art movements that prioritized site-specificity and material authenticity. Her work responds to ecological concerns and the rise of process art, rejecting the notion of the artist as sole creator. By surrendering control to natural agents, she aligns with broader inquiries into human interaction with the non-human world.

Though not widely reproduced, *Seal* exemplifies a quiet but significant shift in printmaking toward ecological awareness. Its inclusion in the V&A underscores its value as a document of material experimentation. The work continues to influence artists exploring the intersection of natural processes and artistic production, particularly in the realm of artist books and print-based environmental art.