Primavera

Pre-order Information

This item is available for pre-order only. Prints are estimated to begin shipping from 2nd February. You will receive an email notification once your order has been dispatched. Pre-orders will close on 26th January, 2026, at 11.59pm AEDT.

Product Information

Made with love, these archival fine art giclée prints are produced on museum-quality paper made from 100% cotton rag, featuring a soft matte finish for exceptional depth and detail. This 310gsm paper perfectly replicates the weight and subtle texture of the watercolour paper used in the original painting.

Each print is part of a limited edition, and will be individually signed. A2 and A3 sized prints will be packaged with a certificate of authenticity.

Please note: Colours of the print may vary due to screen settings. Frames are not included.

Shipping

A6 prints
Free standard shipping within Australia.
$5 flat rate for international orders.

A2 & A3 prints
$10 flat rate for Australian orders.
$25 flat rate for international orders.

Don't hesitate to email us at hello@materialpoet.com if you have any questions.

From the Artist

Primavera holds a special place in my heart for many reasons. It was the first piece I created purely for my own enjoyment, without the need to meet a brief or personalise it for a friend or family member (though, don’t get me wrong, this is still one of my favourite things to do). It marked the first work I had done for myself in many years and signalled the beginning of my own creative project — the launch of my business, Material Poet.

In Spanish, Primavera means “spring,” and although I created this piece slowly over the autumn and winter months, it finally came to life with the arrival of the new season. At the time, it felt as though spring had arrived in more ways than one — a quiet renewal, both outside and within. I couldn't shake the sense of a fresh shift in the air. It's safe to say this painting marked a new chapter — one of beginnings and growth.

The original plan for this artwork was to paint poppies. I am mesmerised by their sculptural form, texture, and layered complexity. They don’t stand straight, but instead bend and twist in every direction with confidence. Their movement reminds me of my own path over the past few years — no straight line, but an unbeaten road full of wandering, discovery, and unforgettable adventures. As the painting developed, the flowers began to morph, taking on qualities of other blooms. As a friend pointed out, they seemed to have become an “unknown” species, blurring characteristics in a way I love to explore in my design work — it felt perfectly fitting for this piece.

Around the time I decided to start painting was also when I discovered acrylic ink. Its richness, yet similarity to watercolour, felt like finding the best of both worlds. During my research into the medium, I came across the work of Stephen Doherty and his unusual yet wonderful use of a safety pin to create shallow tears in the paper, allowing the ink to settle gently into its crevices. Although I had never seen anything like it before, this technique has long been used in pottery, where scoring is applied before glazing to create intricate patterns. After weeks of testing, I decided to use the scoring method as the foundation of this painting — to highlight the delicate floral details and the materiality of the subject. And although the thousands of scored lines took me months to complete, I can now say it was absolutely worth it.

It’s been a long time coming, but Primavera is finally here. I hope it brings you a sense of new beginnings, just as it did for me.

With love,
— Francesca