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We are here near Port Renfrew on Vancouver Island in British Columbia. "Big Lonely Doug" is now a national and international symbol of the protection of ancient forests. In 2011, Dennis Cronin, a lumberjack in charge of cutting lot 7190, could only spare this extraordinary Douglas fir (the 2nd largest in Canada with its 66 meters in height and almost 4 in circumference). Still standing in 2021, he resists as best he can, alone, very vulnerable to the dangers that a forest can usually manage.


14 years earlier, another lumberjack in 1997 had tried to sensitize the public to this same cause, Grand Hadwin had opted for a more radical method, faced with the total indifference of the people he was trying to sensitize (he even wrote to the Queen Elizabeth II as a last resort...), he decided to cut down the "Golden Tree" in a desperate gesture, a unique Sitka spruce in the world because it was genetically different, its needles were as bright as gold. Revered by the people of the Haida First Nations, adored by the local public and tourists, Hadwin was condemned to appear in class outside the Queen Charlotte Islands where he resided to answer for his act, he decided to go there by sea kayak to avoid a lynching on the ferry... he was never found. John Vaillant tells this tragic and fabulous story in his book "The Golden Tree".


The work TRANS-CENDANCE #7, V1 is the result of a collaboration in digital creation by the duo. For the first time the RACIEL is placed upside down, would the man have fallen on his head? By grafting himself onto one of Big Lonely Doug's cut trunks, perhaps he will manage to make amends by bringing his support to this symbol of the defenders of trees and more particularly of the ancient forest. The RACIEL is chosen according to its shape, its color, its expression then it is photographed and integrated into the image of the tree. Several variations of the same work can be created.


An edition of 25 prints in 4 different formats is available.


Museum (archive) quality pigment print on 100% cotton paper with a velvety, lightly textured matte finish.

TRANS-CENDANCE #7, V1, 2021.

  • This work is offered in a limited edition of 25 copies (signed and numbered) in 4  different formats (10 copies in 20 x 30 in / 51 x 76 cm, 10 copies in 30 x 45 in / 76 x 114 cm,  4 copies in 40 x 60 in / 102 x 152 cm and 1 copy in 60 X 90 in / 152 x 228 cm). Or in more accessible form in open edition  of 8 x 12 in / 20 x 30 cm  or 12 x 18 in / 30 x 45 cm.

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