#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.
#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.
#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.
#38: The Idea Arrives Before the Skill
Some ideas come before we’re ready to paint them — and that’s where I’m at. In this post, I reflect on the challenge and excitement of chasing a concept that feels bigger than my current technical ability, and why painting into that gap is where real growth happens.
#35: Back to the Studio – Finding Quiet After the Show
Holmfirth Artweek has come to a close, and I’ve returned to the studio — quieter, messier, and full of possibility. In this week’s post, I reflect on the shift from public display back to private process, and the quiet clarity that follows the buzz of an exhibition.
#33: The One I Didn’t See — and Someone Else Did
One of my paintings, All That Glitters is Gold, is currently hanging at Holmfirth Artweek — a piece I haven’t even seen in person at the show. But this week, someone messaged me to say they had… and that it meant something to them. That small moment reminded me why I do this.
#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.
#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.