#32: For the Wall or For Myself? Making Art with Eyes on It
As Holmfirth Artweek approaches, I’ve been thinking about the shift from making work just for myself to preparing it for public display. This post explores that balancing act — the tension between private instinct and public sharing — and why I think both sides matter.
#31: The Waiting Room: After the Hand-In, Before the Show
The paintings are in, waiting patiently to be hung for Holmfirth Artweek. With the making behind me, I’m reflecting on this in-between moment — that breath between completion and being seen — and the quiet anticipation of sharing work that feels like a real turning point.
#30: After the Rush: Letting Go and Looking Back
The paintings are finished, varnished, and sent off for Holmfirth Artweek. Now, in the quiet after the deadline, I’m taking a much-needed break — and reflecting on what it means to complete a body of work that challenged me in all the right ways.
#29: Wrapped, Ready, and Real: Varnishing and Preparing for Holmfirth Artweek
This week in the studio has been all about the final layer — varnish. As I get ready for Holmfirth Artweek, I’ve been experimenting with matt and gloss finishes to give each painting its own distinct voice. This post is about that final act of care — and what it means to let the work go.
#28: What I Bring Into the Studio (That Has Nothing to Do with Art)
I walk into the studio carrying more than just my brushes — there’s mood, memory, music, tiredness, joy. In this post, I reflect on how the invisible parts of life shape the work, even when I’m not trying — and why I’ve learned to let them in.
#27: When People See What I Didn’t See
One of the most surprising things about sharing my paintings is when someone sees something in the work that I didn’t. In this post, I reflect on how art takes on new meaning in the eyes of others — and why that’s one of the best parts of the process.
#26: The Good Studio Days / When It Just Works
Some days in the studio, everything just clicks. The colours land right, the brush moves with ease, and the process feels less like work and more like something you're lucky to be part of. This post is a quiet celebration of those rare, golden days — and why they matter.
#25: Why I Sometimes Work on Sundays
Yesterday, I found myself in the studio on a quiet Sunday — not because I had to, but because I wanted to. In this post, I explore the difference between duty and desire, and how balancing work and rest is part of what keeps the painting — and me — alive.
#24: Sealing the Story: Finding the Right Varnish for Each Painting
As I finish my latest paintings for the art show, I’m realising how much those final layers of varnish matter — not just for protection, but for mood, presence, and the quiet dignity of letting the work stand on its own.
#23: Knowing When to Stop: Finding My Limits in the Studio
I love getting lost in the work — but I’ve learned that the best paintings don’t come from endless hours alone. In this post, I explore how family time, exercise, and quiet pauses outside the studio all shape the work I do when I return.
#22: The Space Around the Painting: Why the Studio Matters
The studio doesn’t just contain the work — it shapes it. In this post, I reflect on the mood, movement, and small rituals of my workspace, and how the space around the canvas quietly becomes part of the painting itself.
#21: The Countdown Canvas: Creating for Holmfirth Artweek Under Pressure
As Holmfirth Artweek approaches, my studio has become a swirl of colour, energy, and urgency. There's something about a deadline that sharpens the brush and fuels bold decisions. This post captures that electric rush — the chaos, the clarity, and the joy of creating when time is tight.
#20: Not Always About Art: The Unlikely Inspirations Behind My Work
Inspiration doesn’t always come from a gallery. Lately, mine’s come from comedy podcasts, nostalgic indie tracks, and an unforgettable Flat Moon gig involving a theremin and a gold telephone. Here's how these unexpected influences are sneaking into my paintings.
Life Leaks In: How the Rest of My World Shapes My Work
I used to think the studio was a space apart from everything else—but life has a way of leaking in. In this blog post, I reflect on how moods, moments, and the everyday shape my process as a painter, sometimes in quiet ways, sometimes not so quietly at all.
Thinking Bigger: What I’ve Learned from Larger Canvases
Lately, I’ve started working on larger canvases—and it’s changed everything. Not just how I paint, but how I move, think, and relate to the people in my paintings. It’s a shift in scale that’s opened up a new kind of presence in the work.
The Urge to Hurry vs. the Need to Slow Down
Impatience is a constant companion in the studio—but the work never rushes just because I want it to. In this post, I explore the tension between urgency and patience in my creative process, and how some of my best breakthroughs come not in the act of painting, but in the pause that follows.
What Makes a Face Paintable? A Portrait Artist's Reflection
Not every face wants to be painted. In this post, I reflect on what draws me to certain people—not because of how they look, but because of what they hold. It's not about features. It's about presence.
From Subject to Self: A Walk Through the National Portrait Gallery
A recent visit to the National Portrait Gallery left me thinking about how portraiture has shifted over time—from being all about the sitter, to becoming a reflection of the artist. In this post, I explore that transformation, and where my own work fits into the story.
Why I Paint People: The Connection Between Art and Humanity
For as long as I can remember, I’ve been drawn to people—their faces, their gestures, the way emotions flicker across their expressions. Even before I fully embraced figurative painting, my work often revolved around the eye, that single, intimate detail that holds so much depth. But now, as I step deeper into colour and explore the human figure more fully, I find myself asking: why do I paint people?