Clare Woods: As I Please

This beautiful book follows Clare Woods’ previous monograph Strange Meetings, published in 2016. It presents all of the artist’s most important paintings of the past decade, as well as the many prints and collages that have grown out of her painting practice in recent years.

Critic and art historian Charlotte Mullins writes a lively and accessible introduction to the artist’s work and discusses some of its precedents and influences from art history, while psychoanalyst Darian Leader considers the psychological roots of her practice. Writer Ela Bittencourt completes the volume with a text that examines the push-and-pull between familiarity and alienation, knowability and ambiguity, that characterizes Woods’ alluring, seductive, and powerful works.

- +
£35.00
In stock

More details

Material Hardback
Dimensions 23 x 3.4 x 18cm
EAN/ISBN 9781908970602
No. of Pages 192
SKU 12096542

Delivery & Returns

UK Delivery

Enjoy free shipping on all UK orders above £50. For orders below £50, shipping is £4.95. We aim to deliver your order within 3-5 working days.

International Delivery

Shipping costs will be calculated at checkout, based on weight and destination. 

For all orders outside the UK, VAT is deducted from your order at checkout. Your order may be subject to customs duties, taxes and courier charges. You are responsible for paying these charges. Please check with your local customs office for more information.

Temporary Suspension of Shipping to EU, EEA and Northern Ireland

We have temporarily halted shipping to EU, EEA and Northern Ireland due to the new GPSR regulations which came into effect on December 13, 2024. We are actively working on a solution to resume shipping to these regions as soon as possible. We sincerely apologise for any inconvenience this may cause.


For more information please refer to our Delivery Info and Returns & Refunds pages.

Product story

Clare Woods RA (b.1972) is one of the most sought-after painters working in Britain today. Her highly colouristic paintings hover between abstraction and representation, expressing both a poetic romanticism and an unnerving psychic charge. Her distinctive style is informed by her background in sculpture. She uses large, bold and gestural brushstrokes of thick, fluid paint to make still life and figurative paintings that are usually based on photographs of real objects and people, but enlarged, cropped, and distorted almost to the point of illegibility. Much of her recent work is concerned with the fine line between mortality, fragility, sickness, and health, while at the same time creating a psychological space that is shared and inhabited by artist and viewer alike.

Reviews