#49: Finished for Saltaire — and Already Brainstorming the Next Chapter
It’s been a while since I posted here, and in that time I’ve been deep in the studio finish-line zone: sealing the final varnishes, preparing the paintings, ensuring everything is ready for the Saltaire Gallery Winter Show submission.
Now that those works are done, I’m in that familiar place: part relief, part restlessness. Because finishing one body of work always means the next idea is at the door.
Completing the Saltaire Pieces
These last few weeks were all about narrowing focus. The moiré-Perspex experiments, colour tests, varnish trials — they all led here. I finalized the three paintings: the reinterpretation of The Creation of Adam with the disappearing-hand effect, the bold colour piece, and the fragmentation piece. Each one stands as a snapshot of where I’m at right now.
Submitting them in to Saltaire feels like closing a chapter. But the studio isn’t empty yet. It’s just changed gear.
Looking Ahead — The Next Idea
While the Saltaire works are in motion, I’ve been thinking about what comes next. One of the sparks is the upcoming HSFK Portrait Award 2026 exhibition at the National Portrait Gallery. The idea of contributing to such a prestigious portrait show has me rethinking direction: how far I want to push the moiré effect, how to bring portrait work into new territory, how to stretch without losing the face.
The challenge: Can I create something that feels of this moment, honours the depth of portraiture, and still carries that optical layer which defines my recent work?
Ideas in the Making
At present, I’m scribbling notes, making mock-ups, and letting curiosity lead. Some of the seeds:
A portrait composed entirely of very fine line-grids overlaying a face — as the viewer moves, the pattern shifts and part of the face appears, part recedes.
A multi-panel piece where each panel shows the same subject at different angles of interference, asking: which “version” is the true face?
A combination of bold colour and optical overlay, meaning the portrait looks vivid at one distance, subtle and shifting at another.
None of these are finalized. They’re rough. They feel exciting because they’re unknown.
Why It Matters
Finishing work is satisfying, but the real magic for me is in generation. In the “what if” phase. Because artists make bridges between what is and what could be. And right now, I’m building one.
So yes — the Saltaire works are done. They’ll take their place. Meanwhile, I’m watching the door for the next idea and I’m ready to walk through it when it opens.
.M.
Be real.
Make art.
If you’d like to learn more about my creative process or see my latest work, feel free to reach out or check out the rest of my website.