The woman behind the neon woods
Daisy Dodd-Noble paints the kind of landscapes you want to step into barefoot: lush, fluorescent forests, molten sunsets and sinuous tree lines that feel less like scenery and more like a mood. Her canvases hum with the afterglow of a perfect evening somewhere between the English countryside and a dream sequence, a place where nature is edited the way a good travel shoot is lit—heightened, seductive, utterly intentional.
The woman behind the neon woods
Born in London in 1989, Daisy Dodd-Noble trained at the New York Academy of Art, where a rigorous classical education quietly underpins her free-spirited, almost cinematic landscapes. New York gave her not only technique but also permission to let imagination take the lead, an energy that now courses through her otherworldly treescapes and volcanic horizons.
Before returning to London, she spent time working in Dubai’s oil industry—a chapter that reads like backstory for the subtle climate anxiety woven through her work. That proximity to extraction and excess now meets a painterly obsession with what might still be left to protect, resulting in pictures that feel both like postcards from paradise and warnings not to take it for granted.
A luxury of color and atmosphere
Dodd-Noble does not deal in modest greens and polite skies; her palette leans into electric blues, saturated oranges and deep violets that belong as much to fashion editorials as to plein-air tradition. Trees are stretched, bent and groomed into elegant silhouettes—more characters than background—arranged in sweeping compositions that read almost like a perfectly styled resort garden, just dialed up to a surreal pitch.
Her brushwork layers veils of color until a subtle vibration appears on the surface, the visual equivalent of heat rising from a road at golden hour. Up close, the paintings are all gesture and gloss; from a distance, they lock into scenes that feel strangely familiar, like a view you once had from a train window and have been trying to remember ever since.
A new kind of escapism
In an age of wellness retreats and regenerative travel, Dodd-Noble’s work taps into a similar desire: to disappear into a landscape that looks untouched yet quietly curated. Her forests are conspicuously free of people; there are no infinity pools, no villas, only the sense that you arrived first—and might be the last to see it like this.
That absence is part of the seduction. The paintings feel like invitations to slow down, to reimagine nature as a luxury experience not to be consumed but to be guarded, curated and savored. It is paradise as a limited edition—beautiful, fragile and all the more desirable because it feels so precarious.
From white cube to watch list
Her rise has been steady rather than explosive: shows with serious contemporary galleries in Europe and the U.S. have positioned her firmly within a new wave of artists reimagining the landscape. Auction houses and online platforms now feature her neon forests, where they sit comfortably alongside works by more established contemporaries, signaling a market that has started to pay close attention.
In a telling twist of the current moment, her paintings have also entered the world of fractional ownership, where collectors can buy into individual works the way they might book into a coveted hotel suite. It is a fitting home for an artist whose practice lives at the intersection of pleasure and precarity: escapist, yes—but also a sharp reminder that paradise, like a room with the best view, is always in limited supply.
