#46: Back to the Brush
After weeks of moiré experiments and technical tests, I’ve finally returned to painting — beginning my reinterpretation of Michelangelo’s Creation of Adam. In this post, I reflect on the shift from preparation to brushwork, and the unique fulfilment painting brings.
#45: Reimagining Creation Through Moiré
I’m beginning a new portrait inspired by Michelangelo’s Creation of Adam — but with a twist. Using the moiré illusion, I’m painting just the two hands so that only one is ever visible at a time. The result: God and man can never appear together, a reflection of disconnection in our age.
#44: The Mathematics Behind the Moiré
Moiré patterns look almost magical — waves and distortions that shift as you move — but beneath that strangeness lies complex mathematics. In this post, I reflect on the hidden geometry behind moiré and why, as an artist, I prefer to feel it in the studio rather than calculate it on paper.
#43: When the Studio Feels Like a Laboratory
Lately my studio looks less like a studio and more like a laboratory — Perspex sheets, varnish tests, and failed scraps scattered everywhere. In this post, I reflect on the role of experimentation in my moiré portrait project, and why research and failure are as essential as paint.
#42: The Invisible Layers of a Painting
Every painting carries layers the audience never sees — tests, failures, underpaintings, and hours of trial and error. In this post, I reflect on the hidden groundwork behind my current moiré project, and why those invisible stages matter as much as the finished surface.
#41: Trusting the Experiments
Before a painting exists, there’s a lot of invisible work — the quiet stage of testing and failing. In this post, I share how I’m using a sacrificial Perspex sheet to experiment with paints and varnishes for my moiré project, and why these unseen steps are vital to inventing a new process.
#40: When Play Becomes Purpose
My moiré portrait project started as pure experimentation — no pressure, no plan, just play. But somewhere along the way, it became something more. In this post, I reflect on how creativity often finds its purpose after you’ve already started, and why that’s exactly the kind of surprise I love.
#39: The Difference Between an Idea and a Painting
Some ideas arrive perfectly in your mind — clean, sharp, ready to be made. But painting them is a different story. In this post, I reflect on how the transition from concept to canvas reshapes everything, and why that unpredictable shift is part of what makes painting worthwhile.
#37: Pixels and Paint: Why the Experiments Aren’t the End
This week I’ve been deep in Photoshop and print experiments for my moiré portrait project — but I want to be clear: this isn’t the final work. The goal is to paint. These layers and tests are the groundwork for something tactile, physical, and real — a painting made by hand.