#54: Stabbing the Painting with Creativity
A week into adding colour to my black and white portrait, I’ve realised just how intense the push and pull can be. Every brushstroke feels like a risk — like I’m sacrificing detail in pursuit of something looser and more expressive. This post is about that uncomfortable middle stage, hitting a wall, stepping away, and coming back with fresh eyes.
#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.
#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.
#34: The Show Has Just Finished — But I’m Already Thinking About What’s Next
While Holmfirth Artweek is just wrapping up, I’ve noticed something familiar stirring — the quiet return of curiosity. My mind is already starting to drift toward what might come next. This post reflects on that creative in-between and the gentle momentum that follows the high of a show.
#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.