Dapillism
An evolution of Embroidery Impressionism
An art movement pioneered by a meticulous and emotive technique, Dappling Impressionism also known as Dapillism, invented by Denisa Mansfield. This style reimagines the traditional Impressionist style through a unique method of layering small, deliberate dabs of paint. Each stroke is a tiny capsule of colour, light, and texture, blending to create a harmonious mosaic that dances with vibrancy and movement.
Also referred to as Embroidery Dapillism seeks to capture the fleeting essence of a moment, weaving together an intricate tapestry of dappled light and dynamic energy. Unlike pointillism, which relies on precise dots, Dapillism thrives on the organic interplay of textured daps to evoke emotion and depth. It celebrates the intimate relationship between the artist, the brush, and the canvas, crafting a symphony of colour and form that is both personal and universal. Rooted in the Impressionist philosophy but driven by an innovative technique by Mansfield, Dapillism is a call to embrace the beauty of detail and the power of artistic intuition. It transforms the ordinary into the extraordinary, one dap at a time.
Painted during the 2021 lockdown, 'Ego Dormio' (Latin for “Dreaming Self”) is a psychological self-portrait rather than a literal one. It was created during a period of enforced stillness and internal intensity. Rather than pursuing resemblance, it focuses on symbolism, perception, and emotional state.
It marked the beginning of my exploration into creating the impression of tapestries and their decorative details, characteristics and colour palettes. Many of which explore history, folklore and nature influences, subjects I often delve into for my work.
This composition questions how we evaluate beauty and capture its essence. It invites the viewer to consider their own cognitive response: are we drawn first to surface harmony and aesthetic refinement, or do we look for deeper meaning beneath it? The painting holds this tension deliberately between composure and vulnerability, decoration and introspection.
The open palms form the central symbolic gesture. They represent an oath to myself and to my practice, a commitment to resilience and artistic integrity during a difficult period. At the same time, they act as an offering: a statement of presence as a female artist working within a tradition historically dominated by men. The visual language draws from Pre-Raphaelite portraiture and devotional imagery, not as religious declaration, but for their directness, stillness, and emotional vulnerabilty. My Catholic upbringing and convent education inevitably inform the symbolism, though the painting is more aligned with Romantic introspection than doctrine.
Ego Dormio, 2021 (Available)
Technically, the work balances controlled realism with expressive passages. The embroidered silk curtain to the left, inspired by 18th-century Italian textile panels, marked a pivotal moment in my practice.
Textiles have always been a dominant part of my earlier studies in Art and Design; they invited a sensitivity to touch, patience, and process, teaching me to understand surface not just visually but physically. That early engagement continues to inform my practice, as historical craftsmanship of textiles carry embedded narratives of labour, heritage, and identity. In revisiting them through paint, I aim to sustain their relevance, preserving tradition and honour their history while adding my own interpretation ensuring they evolve rather than disappear.
In this section, paint is handled as thread: layered, directional strokes build a tactile surface that catches the light and creates the illusion of stitched silk. This exploration became the foundation of what I now describe as embroidery impressionism - the translation of historic textile craft into oil painting.
French Rose of Provins, 2022 (Available)
Journey
A pivotal work within this journey was 'French Rose of Provins', the main focused study of many that helped define the direction of the collection. The painting centres on a single rose in full bloom, accompanied by leaves and a delicate bud. The subject, Rosa Gallica, an old rose species of the Magnoliopsida class was the last bloom I was able to capture from a plant growing in the garden of our historic home, built in the late 1700s. It was a rose I had never encountered before. Despite attempts to revive the plant, it disappeared, and I never saw it flower again.
That fleeting encounter shaped the work profoundly and why my work felt so necessary. The painting became both documentation and tribute.
In this painting, I concentrated on close-up observation, studying the intricate folds of petals, the slender structure of the stems, and the subtle shifts in tone and colours that give the bloom its vitality. The surface is built through delicate impasto and controlled, thread-like mark making, reflecting the principles that underpin my embroidery-inspired technique. Movement is suggested through layered strokes, while texture invites intimate inspection.
The rose was found in a quiet, almost hidden corner of the garden, a still life subject discovered rather than arranged. Its singular presence, and its disappearance, reinforced my ongoing dialogue with preservation of beauty, of tradition, and of moment.
Since then, I have cultivated and painted many roses and continue this tradition, each in quiet honour of that original bloom. Through them, the Embroidery Dapillism collection continues to bridge observation and ornament, history and renewal in sustaining what is fragile through deliberate, tactile paint.
Design
Fur Elise developed from a deeply personal love for our daughter and of music that has followed me since childhood. I learned to play Beethoven’s composition at a young age, and years later named my daughter Elise which felt very nostalgic and sentimental.
This intricate painting was completed during her early months, often while she slept in my arms or in brief, quiet intervals between caring for her. The work carries that period of focus, discipline, and intimacy.
The composition references off-white silk brocade, structured around a multicoloured floral and vine motif, which is a subject I seem to visit often throughout my work. Inspired by 18th-century Parisian needlework, the design explores the intersection of decorative arts and fine painting. Each mark is deliberately placed; the surface is built through controlled, precise brushwork to create raised impasto that responds strongly to raking light. The texture is intended to echo embroidery, paint functioning as thread which was an appearance I adored to create and see it developing at each stage.
Executed in my signature approach of embroidery impressionism (Dapillism), the piece reflects ongoing research into historical textile design, material illusion, and the translation of craft traditions into oil paint. Something I have always had a fascination with since studying Textiles.
Fur Elise brings together personal history, technical discipline, and a sustained engagement with decorative heritage, bridging history with contemporary interpretations.
Fur Elise, Floral Brocade, 2023 (Available)
This collection forms part of my ongoing Embroidery Dapillism practice, where paint is applied in deliberate, thread-like marks to emulate the tactile density and ornament of embroidered textiles. Drawing from tapestry design, botanical study, and personal history, the works bridge decorative heritage and contemporary fine art and can be found integrated within many of my paintings.
For more about this collection or commission opportunities, please refer to the contact page.
Candy Floss Rainbow, 2023 (Available)