Beneath a dark water column, boulders sit like ancient witnesses on the seabed. From between them, pale blue vents lift and scatter, like breath rising out of stone. Above, a rain of white and gold descends in long, straight currents. Light is made visible, not as a single beam, but as thousands of small particles catching brilliance on their way down. The whole scene becomes a meeting of ascent and descent, the deep responding while illumination arrives, steady and unforced.
In Kells in the Deep, a deep field of indigo and Atlantic blue drops into a submerged world of stone. Along the lower band, dark boulders and broken ledges sit like old foundations on the seafloor, their edges caught in cold teal and shadow. From among them, small blue vents rise in soft beads and scattered bubbles, giving the scene a living breath. Above, the water column is scored with long vertical currents. Whites and golds spill downward in ribbons and flecks, like marine snow lit by sun, or like gilded illumination drifting through depth.
The piece carries the feeling of a Primordial Sea, old as memory, where the deep both holds and releases. The upward vents suggest the earth’s quiet life under pressure, while the descending whites and golds read as provision and light entering the abyss in ordered streams. The contrast is the story. The bottom is weight, age, and rock. The upper field is blessing, brightness, and falling radiance. In that meeting, the work becomes “Kells” in spirit rather than literal script, an echo of Gaelic illumination translated into ocean and current.
Scripture anchor:
The light shines in the darkness, and the darkness has not overcome it. John 1:5 (ESV)
On the wall, Kells in the Deep reads like a panoramic window into Atlantic depth. On light walls it feels crisp and contemporary, with the blues and teals giving clean structure while the gold brings lift and warmth. On charcoal, deep green, or navy walls, the blues deepen and the gilded fall-lines become richer and more atmospheric, which suits studies, prayer corners, reading rooms, and calm bedrooms. The 2:1 panoramic format makes it a strong centrepiece over a sofa, sideboard, or bed, and it works beautifully in long hallways, reception areas, and executive spaces where the horizontal sweep can breathe.
Canvas & Materials
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Premium matte canvas on a 1.25" (3.2 cm) gallery-style stretcher
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Cotton and polyester composite canvas for a fine, painterly surface with excellent colour retention
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Inner frame made from radiata pine sourced from renewable forests
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Soft rubber dots on the back corners to protect walls and keep the canvas stable
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Hanging hardware included so the piece arrives ready to place and live with
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Please allow for slight size variation (± 1/8" / 3.2 mm) due to the handcrafted production process
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Printed with care to honour the colour, light, and atmosphere of the original Archie Kilmor artwork
Original Artwork by Abstract Artist Archie Kilmor.
| |
20" x 10" (Horizontal) |
30" x 15" (Horizontal) |
40" x 20" (Horizontal) |
48″ x 24″ (Horizontal) |
60" x 30" (Horizontal) |
| Width, in |
20.00 |
30.00 |
40.00 |
48.00 |
60.00 |
| Height, in |
10.00 |
15.00 |
20.00 |
24.00 |
30.00 |
| Depth, in |
1.25 |
1.25 |
1.25 |
1.25 |
1.25 |
EU representative: Not Hunters Art, nothuntersart.usa@gmail.com, 16 Springvale Street, Gold Coast, QLD, 4226, AU
Product information: Generic brand, 2 year warranty in EU and Northern Ireland as per Directive 1999/44/EC
Care instructions: If the canvas does gather any dust, you may wipe it off gently with a clean, damp cloth.
