#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.
The Emotional Palette: How Colours Influence Feelings in My Art
For a long time, my work existed in black and white. Stripped of colour, it was all about contrast, form, and texture—letting light and shadow do the storytelling. There was a purity to it, a directness that I loved. But recently, I felt something shifting. A pull towards something richer, something more layered. So, I made a change.
I started working with colour.
At first, it felt like learning a new language—exciting but uncertain. Colour is an entirely different way of thinking, a different way of seeing. Where black and white allowed me to focus on stark, bold compositions, colour introduced a new dimension of emotion and energy. Suddenly, my work wasn’t just about what was being depicted, but how it felt, how it moved, how it resonated through shades and tones.