Eleanor Havsteen-Franklin prints, sculptures and drawings are inspired by detailed drawing studies of flora, fauna and other biological forms. Individual drawn elements are  brought together to create a coherent novel object that is suggestive of bodily and organic forms.

The tactile exploration of the surface is an important aspect of her practice in both her etchings and ceramic sculptures.

In her printmaking, she encourages foul biting on the copper plate during the etching process, creating a dialogue between the intentional drawn lines and random marks. The lines are deeply etched, and the surface becomes evocative of physical ‘living’ surfaces such as skin and plant tissue. At times, the surface of the print is explored further by stitching into the Japanese paper, which creates a more complex texture. By printing the same etching plate in different colour hues, she investigates how the idea of the multiple print can contribute to reflecting the intensity of the different colour hues within the subject matter. The ceramic sculptures are delicate and visceral, emulating the living processes of natural forms, with the glazes and oxide washes enabling further exploration of organic and ‘cellular’ surfaces, textures and colours.

 In the 2D and 3D, the distinction between organic structures—be they human organs, plant life, or psychic contours—become fluid, fostering a surreal metamorphosis; creating a visual narrative that seeks to expand our engagement with nature and our own intrinsic interconnectedness with the world around us. The main focus of her work is to visually embody the interwoven relationship between botanical and biological forms, reflecting on the fragility and resilience of ecosystems and human life.

‘Looking closely at the deeply etched lines on the paper, suddenly they appear as tangible shapes; the etched line becomes thread. Havsteen-Franklin literally sews the etching lines into three-dimensional space with threads. It is art that captivates you, as if you are looking at a wonderful floating life in the deep sea. It is this very contemporary experimental printmaking that makes it uncomparable.’

- De Queeste Art

Her collaborations include working with plant scientist at Sainsbury Laboratory Cambridge University and poets, and more recently the Creative director of ‘SILA: Inuit Culture and Arctic Sustainability’ at the Royal Geographical Society, London. The latter included a residency in Greenland and running workshops for schools in Greenland and the UK faciitating cultural exchange. Her work is held in the Clifford Chance Print Collection, Scarborough Art Gallery Print Archive, Incisioni al Femminile Italy, The V & A Print Collection, Douro Print Collection, Portugal and Guanlan International Print Biennale, China.

Her work is represented by Bircham Gallery and The Printroom Studio in the UK and De Queeste Art in Belgium.