https://www.michaelart.co.uk/blog daily 0.75 2026-03-27 https://www.michaelart.co.uk/blog/58-the-in-between monthly 0.5 2026-03-27 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/d7a31684-0f6c-4f46-bd98-e341b163f743/IMG_20260320_160857.jpg blog - #58: The In-Between - There’s a particular moment in the process of making and submitting work that doesn’t get talked about very often. The in-between. The work is finished. The deadlines have passed. The paintings have left the studio. And all that’s left is time. https://www.michaelart.co.uk/blog/57-sketching-in-oil-pastel monthly 0.5 2026-03-12 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/0117a996-daa9-488d-8de0-c8c35ccd2392/IMG_20260312_101456.jpg blog - #57: Sketching in Oil Pastel - Lately I’ve been trying something new in the studio — oil pastels. Not for finished paintings, not for polished work, but for sketching. For thinking. For exploring ideas quickly without the weight of a canvas or the pressure of committing to paint. It’s a surprisingly different way of working. https://www.michaelart.co.uk/blog/56-three-portraits-one-submission monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/b8117c1e-2730-4a03-9fde-bfca23466e2f/POATY+26+submissions+-+1.jpg blog - #56: Three Portraits, One Submission - This week I finally reached the moment I’ve been working toward for the past few weeks — submitting my entry for Sky Arts Portrait Artist of the Year. Three portraits. Finished, photographed, and sent. There’s always something slightly surreal about that moment when the work leaves your studio and enters the world. For weeks the paintings have been the centre of everything — the focus of every decision, every doubt, every late evening. And then suddenly they’re uploaded, submitted, and out of my hands. https://www.michaelart.co.uk/blog/55-a-self-imposed-deadline monthly 0.5 2026-02-10 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/6f9a4f72-5026-420e-a88a-2c2a338162ed/IMG_20260208_143531.jpg blog - #55: A Self-Imposed Deadline - Technically, the deadline for Portrait Artist of the Year isn’t until the 20th of February. But in my head, it’s earlier. I’ve set myself a personal cut-off point — a line in the sand — because I want the painting finished properly before the pace of life shifts again. Not rushed. Not squeezed in between other things. Finished with intention. There’s something powerful about choosing your own deadline. It sharpens your focus. It removes excuses. It makes each day in the studio feel deliberate. https://www.michaelart.co.uk/blog/54-stabbing-the-painting-with-creativity monthly 0.5 2026-02-02 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/ae9c29f2-b21e-4d41-ae87-354064d0944d/IMG_20260127_154806.jpg blog - #54: Stabbing the Painting with Creativity - A week ago, I wrote about starting colour on my portrait What I was and what I’ve become — and how I was ready to move beyond the black and white foundation into something more dimensional, more expressive, more alive. Since then… I’ve started. Properly. And I’ll be honest: it’s been scary. https://www.michaelart.co.uk/blog/53-what-i-was-and-what-ive-become monthly 0.5 2026-01-27 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/0190767d-4ed7-4d47-8171-6a852c3792bf/IMG_0901.png blog - #53: What I Was and What I’ve Become - I’ve reached one of those satisfying moments in a painting — the point where the structure is built, the hard work has been done, and now the real transformation can begin. The black and white portion of my latest portrait is finished. The foundations are there: form, contrast, clarity. It’s the kind of stage I used to live in for months when my work was primarily graphite — detailed, controlled, and obsessive in the best and worst ways. But now I’m ready for the next part. Colour. Not in one bold jump, but through glazes — layers of translucent colour that slowly build depth and atmosphere. The aim is to push the portrait into something more dimensional, more expressive, more alive. https://www.michaelart.co.uk/blog/52-a-new-year-a-wider-window monthly 0.5 2026-01-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/6b65930a-e4b4-4d2b-b400-46516588c2d5/IMG_20260116_161828.jpg blog - #52: A New Year, a Wider Window - There’s something about the start of a new year that invites perspective. Not just on what’s coming next, but on how far you’ve already travelled. As I begin preparing my entry for Portrait Artist of the Year 2026, I’ve found myself thinking about time — not in deadlines or schedules, but in years of work quietly stacking up behind me. One small rule change has made that particularly clear. https://www.michaelart.co.uk/blog/51-a-christmas-thank-you-and-looking-ahead monthly 0.5 2025-12-19 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/66bad761-7a3c-4199-836f-94e422526b1e/IMG_20251215_183741.jpg blog - #51: A Christmas Thank You — and Looking Ahead - It’s been a little while since my last blog post, and with the year coming to a close it feels like the right moment to pause, reflect, and say thank you. This has been my first full year working consistently from the studio, and it’s been a big one. A year of learning how I work best, of experimentation, frustration, breakthroughs, and slowly building a practice that feels grounded and intentional. Spending that much time with the work has changed how I think about painting — not just as finished pieces, but as a process that unfolds day by day. https://www.michaelart.co.uk/blog/50-a-new-challenge-my-self-portrait-for-the-hsfk-portrait-award monthly 0.5 2025-11-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/48a113ae-bf09-44ef-aee5-67fa8427b48e/IMG_20251113_154954.jpg blog - #50: A New Challenge: My Self-Portrait for the HSFK Portrait Award - Starting a painting for something as meaningful as the HSFK Portrait Award at the National Portrait Gallery brings a different kind of focus into the studio. I’ve been exploring ideas for a while, but this one feels like it carries something personal that I’ve been wanting to articulate for a long time. This painting is a self-portrait — but one built from overlapping slices of my face, each one turned at a slightly different angle. The structure isn’t just an aesthetic choice; it’s a way of describing the physical experience of living with vertigo and ongoing health issues. A face that doesn’t sit still. A world that doesn’t always line up. https://www.michaelart.co.uk/blog/49-finished-for-saltaire-and-already-brainstorming-the-next-chapter monthly 0.5 2025-11-04 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/22d07338-ef4d-4498-9879-7360ea54b9f1/IMG_20251031_131938.jpg blog - #49: Finished for Saltaire — and Already Brainstorming the Next Chapter - It’s been a while since I posted here, and in that time I’ve been deep in the studio finish-line zone: sealing the final varnishes, preparing the paintings, ensuring everything is ready for the Saltaire Gallery Winter Show submission. Now that those works are done, I’m in that familiar place: part relief, part restlessness. Because finishing one body of work always means the next idea is at the door. https://www.michaelart.co.uk/blog/48-preparing-for-saltaire-three-new-paintings-in-progress monthly 0.5 2025-10-06 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/71a6c8b3-2694-4579-a18f-1637c0fc7fcf/IMG_20250929_153459.jpg blog - #48: Preparing for Saltaire: Three New Paintings in Progress - There’s something energising about a deadline. After weeks of experimentation, I’m now preparing three paintings to submit for the Saltaire Art Gallery Winter Open Call — including my recently finished reinterpretation of Michelangelo’s Creation of Adam. The Winter Show 2025/26 will bring together artists from across Yorkshire, and the idea of contributing to such a diverse collection feels like the correct next step in my own journey. https://www.michaelart.co.uk/blog/47-at-a-crossroads monthly 0.5 2025-09-25 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/eec829e8-19d5-4efd-8a07-129c9991fffe/IMG_20250922_154724.jpg blog - #47: At a Crossroads - Finishing my variation of Michelangelo’s Creation of Adam has left me with a strange mix of satisfaction and uncertainty. The painting feels like a milestone — not just because it brought together weeks of moiré experiments, but because it pushed me into new territory, reworking an image so deeply rooted in art history. Now that it’s complete, I find myself asking: what’s next? https://www.michaelart.co.uk/blog/46-back-to-the-brush monthly 0.5 2025-09-18 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/bde8972c-c575-4c73-b160-2055e6bbc9f1/mangod.jpg blog - #46: Back to the Brush - For weeks now, my studio has felt more like a laboratory than a place for painting. Sheets of Perspex stacked against the wall, scraps of acetate covered in lines, endless test prints and varnish trials — it’s been all about preparation, about inventing a process that didn’t exist before. Necessary, exciting, but not quite painting. This week, that changed. I finally picked up the brush again. https://www.michaelart.co.uk/blog/45-reimagining-creation-through-moir monthly 0.5 2025-09-11 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/0fd96b2b-b5ff-4189-bcdc-4c02a438ecd9/Creation_of_Adam_%28Michelangelo%29_Detail.jpg blog - #45: Reimagining Creation Through Moiré - Some images are so deeply ingrained in culture that they feel eternal. Michelangelo’s Creation of Adam is one of them — two hands, almost touching, carrying centuries of meaning about divinity, humanity, and connection. It’s an image I keep returning to in my mind. And now, I’m beginning a variation of it — not in fresco, but through my moiré portrait project. https://www.michaelart.co.uk/blog/44-the-mathematics-behind-the-moir monthly 0.5 2025-09-07 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/3670cd06-4fa1-45a3-8e0e-d7bb08bcd518/IMG_20250905_162213.jpg blog - #44: The Mathematics Behind the Moiré - Moiré patterns look almost magical when you first encounter them. Overlapping lines or grids suddenly ripple into waves, distort into curves, or shimmer with movement as you shift your perspective. They feel alive, unpredictable — but underneath that strangeness lies mathematics. And it’s surprisingly complex. https://www.michaelart.co.uk/blog/43-when-the-studio-feels-like-a-laboratory monthly 0.5 2025-08-28 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/a356c866-0b51-45aa-96a3-110e37ea866e/IMG_20250828_100504.jpg blog - #43: When the Studio Feels Like a Laboratory - Sometimes, the studio doesn’t feel like a studio at all. It feels like a laboratory. Instead of brushes and palettes, the desk is covered with test strips, offcuts of Perspex, streaks of varnish, and notes scribbled like chemical formulas. I’m not chasing beauty in these moments — I’m chasing data. Answers. Proof that the idea I have in my head can actually live on a canvas. https://www.michaelart.co.uk/blog/42-the-invisible-layers-of-a-painting monthly 0.5 2025-08-23 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/edd070d3-5d16-4683-a4e9-4455b4bfa32d/IMG_20250806_123923.jpg blog - #42: The Invisible Layers of a Painting - When someone looks at a finished painting, they see a surface. They see colour, form, image, and mood. But what they don’t see are the layers underneath — the ones that made it possible. Every painting has them. And without them, the surface wouldn’t exist. https://www.michaelart.co.uk/blog/41 monthly 0.5 2025-08-19 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/7d354ce7-ce42-403c-9342-b096188cfd5f/IMG_20250813_102225.jpg blog - #41: Trusting the Experiments - Behind every painting, there’s a lot the viewer never sees. The final piece might look effortless when it’s hanging on a wall, but the truth is often the opposite: it’s built on countless small trials, strange tests, and sometimes even failures. That’s the stage I’m in right now. https://www.michaelart.co.uk/blog/40-when-play-becomes-purpose monthly 0.5 2025-08-06 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/226738ae-a816-4b6e-91e7-eed5be1c47e6/Moire+-+1.jpg blog - #40: When Play Becomes Purpose - Not everything starts with a plan. Some of the most exciting work I’ve made lately didn’t begin with a clear goal or deadline — just a hunch, a thread to tug on. I didn’t know what it would turn into, or even if it would turn into anything at all. I just wanted to see what happened. And now, somehow, I’ve found myself in the middle of a project that feels like it matters. …and yes, I know I’ve spoken about this process before. It’s creativity, it’s flow, it’s art! https://www.michaelart.co.uk/blog/39-the-difference-between-an-idea-and-a-painting monthly 0.5 2025-08-03 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/e0a05e7f-e962-4e36-9ce3-f9cb68db7f6b/Selfie+1.jpg blog - #39: The Difference Between an Idea and a Painting - Some ideas arrive beautifully. Clean. Clever. Sharp in the mind. They show up in perfect symmetry, lit by the glow of possibility. You picture the colour palette instantly. You see the structure. You feel the “yes” of it, and you think — I’ve got it. But then you walk into the studio. You face the canvas. And the idea doesn’t behave. https://www.michaelart.co.uk/blog/38-the-idea-arrives-before-the-skill monthly 0.5 2025-07-31 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/2bcccb4c-cbd5-46f1-95cb-ab025b65e731/IMG_20250730_150959.jpg blog - #38: The Idea Arrives Before the Skill - Sometimes, the idea comes first. It arrives sharp, electric, undeniable. You see something — not in front of you, but behind your eyes — and it won’t leave you alone. It’s not a fully formed painting yet. It’s a flicker. A concept. A visual curiosity that says, try me. And the problem, of course, is that you don’t yet know how. https://www.michaelart.co.uk/blog/37-pixels-and-paint-why-the-experiments-arent-the-end monthly 0.5 2025-07-27 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/115ceb52-596a-4057-9220-c30c837d45a9/IMG_20250725_093943.jpg blog - #37: Pixels and Paint: Why the Experiments Aren’t the End - After sharing the early stages of my new moiré portrait project last week, I’ve found myself deep in a rhythm of printing, overlaying, adjusting — working heavily with Photoshop, acetate, inkjet prints, and layered transparencies. It’s been immersive, exciting, and full of possibility. But I want to be very clear: this isn’t the final work. It’s the scaffolding. The map. My goal — always — is to paint. https://www.michaelart.co.uk/blog/36-layers-and-lines-beginning-a-new-moir-portrait-project monthly 0.5 2025-07-24 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/8a389165-8bf0-47b5-a8c5-9d8edfd43823/IMG_20250723_170742+-+2.jpg blog - #36: Layers and Lines: Beginning a New Moiré Portrait Project - This week, something shifted in the studio. After months of painting for Holmfirth Artweek and letting those works live their life on the wall, I’ve started exploring something entirely new — and it feels like I might’ve found my thing. For the first time in a while, I feel that spark again. Not just the satisfaction of making, but the tingle of experimentation, of potential. The kind of excitement that pulls you in and says, this could be it. https://www.michaelart.co.uk/blog/35-back-to-the-studio monthly 0.5 2025-07-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/70ac075b-793f-4531-a268-3f861697c071/IMG_20250112_135944.jpg blog - #35: Back to the Studio – Finding Quiet After the Show - The signs have been taken down, the paintings have come off the walls, and Holmfirth Artweek is officially over. It’s been a week full of colour, conversations, and quiet messages that meant more than I expected. And now? Now I’m back in the studio. It feels like stepping into a room that’s been waiting for me. https://www.michaelart.co.uk/blog/34-the-show-is-on-but-im-already-thinking-about-whats-next monthly 0.5 2025-07-14 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1be63302-bb28-4b1f-8e29-989333f68075/IMG_20250430_134335.jpg blog - #34: The Show Has Just Finished — But I’m Already Thinking About What’s Next - Holmfirth Artweek has just wrapped up. My paintings were on the wall, being seen, hopefully being felt. People are wandering through the space, stopping (or not), connecting (or not), and the work is finally doing what it was made to do — speak in my absence. But while the exhibition is just hit its stride, I’ve noticed my mind doing something quietly familiar. It’s already drifting ahead. https://www.michaelart.co.uk/blog/the-one-i-didnt-see-and-someone-else-did monthly 0.5 2025-07-08 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/eb5a10ca-dfea-4716-8797-558a71dc2c53/IMG-20250707-WA0013.jpg blog - #33: The One I Didn’t See — and Someone Else Did - Holmfirth Artweek is still in full swing, and while I’ve had to step away from the show this year, my paintings are there — standing on their own, without me nearby to hover or explain. It’s a strange feeling, knowing they’re hanging on walls I haven’t seen, catching the eyes of people I’ll likely never meet. But this week, something unexpected happened. A stranger messaged me on Instagram to say they’d seen one of the paintings in person — a piece called All That Glitters is Gold — and really liked it. And honestly, that meant more than I can say. https://www.michaelart.co.uk/blog/32-for-the-wall-or-for-myself-making-art-with-eyes-on-it monthly 0.5 2025-07-06 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/8fcc72df-d1e5-4014-aa71-cdac5ff94b8f/IMG-20250629-WA0004.png blog - #32: For the Wall or For Myself? Making Art with Eyes on It - With Holmfirth Artweek finally here, I’ve been thinking a lot about the shift that happens when paintings leave the studio and head out into the world. It’s not just a logistical handover — it’s emotional too. The work that began in private is about to be looked at, judged, felt, dismissed, loved. That’s the nature of exhibiting. But it’s made me reflect on a deeper question I ask myself all the time: Am I making this for the wall, or for myself? https://www.michaelart.co.uk/blog/31-the-waiting-room-after-the-hand-in-before-the-show monthly 0.5 2025-06-30 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1a532cb7-417a-4256-932f-c313cf8253aa/IMG-20250629-WA0006.jpg blog - #31: The Waiting Room: After the Hand-In, Before the Show - The paintings are in. I’ve seen the photos — there they are, stacked neatly against a gallery wall, still partially wrapped, quietly waiting to be hung. It’s a strange and exciting sight: the work is no longer in my hands, but not yet fully out in the world either. This moment — between hand-in and opening night — carries its own kind of charge. It’s not quiet exactly, and it’s not busy either. It’s that hum of something about to begin. https://www.michaelart.co.uk/blog/30-after-the-rush-letting-go-and-looking-back monthly 0.5 2025-06-27 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/8c5da716-e96c-4d9a-9a06-3f6ad43305a6/IMG_20250622_153903.jpg blog - #30: After the Rush: Letting Go and Looking Back - The paintings are finished. They’ve been wrapped, labelled, and sent off, ready for hand-in day at Holmfirth Artweek this weekend. The studio is quiet now — the brushes are clean, the palette’s been cleared, and for the first time in weeks, I’m allowing myself a proper pause. It’s always a strange feeling, this moment after finishing a body of work — especially one that’s asked a lot of me. https://www.michaelart.co.uk/blog/wrapped-ready-and-real-varnishing-and-preparing-for-holmfirth-artweek monthly 0.5 2025-06-20 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/598a4398-40b3-46f9-b18f-dae1e35c9fb9/IMG_20250616_153149.jpg blog - #29: Wrapped, Ready, and Real: Varnishing and Preparing for Holmfirth Artweek - This past week in the studio has been all about finishing touches — but not just the practical kind. Before the paintings are wrapped, labelled, and packed up for Holmfirth Artweek, they need their final layer of paint. And in my process, that layer is varnish. Varnishing a painting might sound like a simple, protective gesture — but to me, it’s one of the most decisive and expressive parts of finishing a piece. It’s a commitment. A final breath before letting it go. https://www.michaelart.co.uk/blog/28-what-i-bring-into-the-studio-that-has-nothing-to-do-with-art monthly 0.5 2025-06-18 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/672cae15-586a-4ac5-94e8-54b6008f86a3/IMG_20241103_173916.jpg blog - #28: What I Bring Into the Studio (That Has Nothing to Do with Art) - Before I even pick up a brush, before the paint is squeezed out and the canvas adjusted just so, I’ve already brought so much into the studio — and most of it has absolutely nothing to do with art. There’s what I had for breakfast. The conversation I had the night before that’s still turning over in my mind. A strange dream. A song I can’t stop humming. Maybe the lingering tension of a bad night’s sleep. Maybe the calm of a good walk, or the clarity from time at the gym. Sometimes it’s just the weather — grey light filtering through the window and changing how everything feels. None of this is part of the “plan”, but it all shows up anyway. Over time, I’ve realised it shapes the work as much as the brushes or the colour palette ever could. https://www.michaelart.co.uk/blog/27-when-people-see-what-i-didnt-see monthly 0.5 2025-06-14 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/971d9342-9d79-421b-b384-4675f8b8cc81/IMG_20250613_161719.jpg blog - #27: When People See What I Didn’t See - One of the strangest and most wonderful things about sharing art is hearing what other people see in it. I can spend hours — days — working on a painting, completely immersed in its textures, its problems, its story as I understand it. And then someone else comes along, tilts their head, and says something that stops me in my tracks. “I love how that shadow feels like it’s reaching for something.” “This colour makes me think of a memory I’d forgotten.” “Is this about grief?” “It feels like hope.” And just like that, the painting shifts. It becomes something else — something more. https://www.michaelart.co.uk/blog/26-the-good-studio-days-when-it-just-works monthly 0.5 2025-06-12 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/b270eae2-a4c0-4440-9fcc-c848ab6a5f57/IMG_20250612_093941+-+no+yellow.jpg blog - #26: The Good Studio Days / When It Just Works - There are days in the studio that feel like magic. Not loud, glittering magic — just something subtle and steady that settles in, almost unnoticed. The brush moves like it knows where it’s going. The colours land just right. The distractions drop away, and everything feels... right. They don’t come often. But when they do, they remind me exactly why I do this. I’ve had a few of these recently. https://www.michaelart.co.uk/blog/25-why-i-sometimes-work-on-sundays monthly 0.5 2025-06-09 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/5126e980-a2ba-4294-b9b5-6e9148534e90/IMG_20250609_100540.jpg blog - #25: Why I Sometimes Work on Sundays - I’ve always loved the quiet of Sundays. The slow mornings, the gentle rhythm of the day. Sundays have a softness to them — a feeling of pause, of being allowed to just be. But yesterday, I found myself back in the studio. Brushes out, music playing, the familiar scent of paint in the air. Not because I had to — although there’s always a to-do list, always something to finish — but because I wanted to. Because the paintings were pulling at me, and I knew that sometimes, the best kind of rest is the kind that lets you move in a different way. https://www.michaelart.co.uk/blog/sealing-the-story-finding-the-right-varnish-for-each-painting monthly 0.5 2025-06-06 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/f347bac8-ec54-40e0-a1d1-fe8ced52e416/IMG_20250606_140007.jpg blog - #24: Sealing the Story: Finding the Right Varnish for Each Painting The final stretch is always a little bittersweet. I’ve been living with these paintings for weeks — sometimes months — moving them from sketches to something finished, something that feels like it’s finally saying what I wanted it to say. But as I get ready for the art show, there’s still one last decision to make: how to protect that final layer. And how to make sure it still breathes. https://www.michaelart.co.uk/blog/knowing-when-to-stop-finding-my-limits-in-the-studio monthly 0.5 2025-05-31 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/ea8cd30b-8d7e-444a-90d3-2064bdf0af92/IMG_20250502_150712.jpg blog - #23: Knowing When to Stop: Finding My Limits in the Studio I love the studio. I love the feeling of total focus — when the paint flows, the hours vanish, and it’s just me and the canvas. That’s one of the purest joys I know: getting lost in the work, feeling like I’m in conversation with something that’s bigger than me. But as much as I love the studio, I’m realising that the creative process doesn’t begin and end there. It’s supported — even shaped — by everything else in my life. And knowing when to stop, when to let myself step back and recharge, has become as important as knowing how to start. https://www.michaelart.co.uk/blog/22-the-space-around-the-painting-why-the-studio-matters monthly 0.5 2025-05-29 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/a861dfc0-be61-48c3-85db-a90e4f74e7c6/IMG_20250529_100632-2.jpg blog - #22: The Space Around the Painting: Why the Studio Matters When people see a finished painting, they rarely see the space it was made in. The texture of the room. The morning light. The way the air felt, or how the brushes sat in the jar just slightly off-centre. But for me, the studio is part of the work. It's the quiet co-author behind every mark I make. https://www.michaelart.co.uk/blog/21-the-countdown-canvas-creating-for-holmfirth-artweek-under-pressure monthly 0.5 2025-05-24 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/65293a13-7a89-41d4-a1b2-0ef197ddd0fd/IMG_20250520_154755.jpg blog - #21: The Countdown Canvas: Creating for Holmfirth Artweek Under Pressure The calendar says I have time, but in the studio, it feels like I’m racing the clock. With Holmfirth Artweek just around the corner, every spare minute is quickly becoming brushstroke time. And honestly? I kind of love it. There’s something electric about working under pressure. It forces a sort of clarity — decisions that might have taken days happen in moments. Colours that once sat hesitantly on the palette now leap onto the canvas with conviction. The time squeeze isn’t just a challenge — it’s fuel. https://www.michaelart.co.uk/blog/not-always-about-art-the-unlikely-inspirations-behind-my-work monthly 0.5 2025-05-20 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/62c78b36-affc-4dff-b17c-956b76c74963/Flat+Moon.jpg blog - #20: Not Always About Art: The Unlikely Inspirations Behind My Work Flat Moon, supporting Apollo Junction at Leeds Beckett SU, Leeds, Saturday, April 26th 2025. https://www.michaelart.co.uk/blog/life-leaks-in-how-the-rest-of-my-world-shapes-my-work monthly 0.5 2025-05-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/cfdfa0dd-8085-460e-bafc-8fc41e25c251/IMG_20250509_120515.jpg blog - Life Leaks In: How the Rest of My World Shapes My Work I used to imagine the studio as a kind of sanctuary—a separate, sealed place where I could step away from the rest of life and just paint. But it didn’t take long to realise that the boundary isn’t that clean. Life, in all its mess and motion, always finds a way in. Sometimes that’s a gift. Sometimes it’s a challenge. https://www.michaelart.co.uk/blog/thinking-bigger-what-ive-learned-from-larger-canvases monthly 0.5 2025-05-13 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/f27a755e-3750-40d8-8540-bf55529b9082/yfkhfkhj.jpg blog - Thinking Bigger: What I’ve Learned from Larger Canvases For a long time, my work lived in smaller frames—tight, contained, intimate. There’s something safe about that scale. You can hold it all in your mind at once, see the whole thing in a single glance. Mistakes feel more manageable. Decisions feel closer, more personal. But recently, I’ve started painting bigger. Not just in surface area, but in presence. In breath. And it’s shifted something in the way I think, not just about my work, but about space, gesture, and the body in front of the canvas. https://www.michaelart.co.uk/blog/the-urge-to-hurry-vs-the-need-to-slow-down monthly 0.5 2025-05-10 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/2f609cce-81d2-441b-8aec-04f3b9c54bfb/IMG_20250510_140313+bw.jpg blog - The Urge to Hurry vs. the Need to Slow Down I’m impatient by nature. There’s a part of me that wants every painting to come together quickly—brush to canvas, instant clarity, satisfying resolution. I want to see the thing finished. I want to feel that little rush of completion. But art doesn’t work like that. Or at least, mine doesn’t. Over time, I’ve learned that painting—especially the kind that tries to say something real—has its own pace. And it’s usually slower than I want it to be. https://www.michaelart.co.uk/blog/what-makes-a-face-paintable-a-portrait-artists-reflection monthly 0.5 2025-05-06 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/950ca2d3-d5cb-4ff8-8a00-890bcc94fed9/IMG_20250506_104230.jpg blog - What Makes a Face Paintable? A Portrait Artist's Reflection Not all faces ask to be painted. That’s something I’ve realised slowly, over time, like a quiet truth you only hear when you stop looking so hard. It’s easy to assume portraiture is about visual interest—strong bone structure, unusual features, dramatic expressions. But that’s rarely what draws me in. A striking face doesn’t always leave a mark. A “pretty” one often disappears too quickly. What stays with me is harder to explain. Sometimes, it’s the way someone holds themselves—open or guarded, but never posed. Or a moment when they forget they’re being watched, and something honest slips through. Other times, it’s a softness behind the eyes, or a quiet resilience in the jaw. A flicker of something unspoken. A presence that asks to be seen. I think I paint people less because of how they look, and more because of what they hold. https://www.michaelart.co.uk/blog/the-challenges-of-reaching-out-to-well-known-figures-for-portraits-a-reflection monthly 0.5 2025-04-29 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/628fbf5c-b2f0-4c4c-94b2-33cd5cf38db4/IMG_20250429_110539.jpg blog - The Challenges of Reaching Out to Well-Known Figures for Portraits: A Reflection As an artist, there’s something undeniably exciting about the idea of capturing the essence of a well-known figure through a portrait. The thought of immortalizing someone whose face is familiar to so many people is both an honor and an opportunity. But when it comes to actually reaching out to these individuals, the process is far from straightforward. It’s a challenge—a mix of persistence, vulnerability, and, often, quiet frustration. Here, I’ll share my thoughts and reflections on what it’s been like to approach individuals with public recognition to be involved in my portrait work, as well as the lessons I've learned along the way. https://www.michaelart.co.uk/blog/from-subject-to-self-a-walk-through-the-national-portrait-gallery monthly 0.5 2025-04-21 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/5fcdc294-51a7-451e-921a-f0c76fb5d4c7/IMG_20250421_121956.jpg blog - From Subject to Self: A Walk Through the National Portrait Gallery I went to the National Portrait Gallery last week. It was my first time, and I wasn’t expecting it to stir much in me beyond the usual curiosity. But somewhere along the staircases and shadowy rooms, I found myself caught in a quiet realisation that’s stayed with me since: portraits have changed. And not just in style or technique—but in focus. At the top of the building, you start with the Tudors. Regal. Composed. Lavishly dressed and surrounded by symbols of power—furs, books, swords, coats of arms. These portraits aren’t about personality. They’re about position. Who someone was, in the context of their lineage, their wealth, their political alliances. A kind of visual documentation, yes—but also branding. Legacy in oils. And what struck me most was how absent the artist often felt in these early works. They were there, of course, in every brushstroke—but invisible. Their role was to serve the image. The sitter dictated the tone. The artist was simply a translator. https://www.michaelart.co.uk/blog/the-art-i-want-to-see-in-the-world monthly 0.5 2025-04-14 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/60e63aba-3fdb-4a7c-9fb2-e33fece8891d/IMG_20241031_144152.jpg blog - The Art I Want to See in the World I think about this a lot. Not just what kind of art I want to make, but what kind of art I want to see. The kind I’d pause for. The kind I’d quietly carry with me after leaving a room. It’s not necessarily what’s trending or what sells well. It’s not the biggest, brightest thing in the gallery. The art I want to see doesn’t shout. It doesn’t demand. It doesn’t try to impress. It breathes. It lingers. It listens back. https://www.michaelart.co.uk/blog/quiet-moments-the-role-of-stillness-in-my-creative-process monthly 0.5 2025-04-09 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/4419abab-46f9-49fc-a5cb-1b54c28e7132/IMG_20241001_123126.jpg blog - Quiet Moments: The Role of Stillness in My Creative Process There’s a kind of silence I’ve come to trust. Not the awkward silence we try to fill in conversation, or the kind of stillness that feels stagnant—but a living, breathing pause. It’s subtle, but powerful. In those moments where nothing is demanding my attention, I start to hear something truer. That’s often where the art begins. https://www.michaelart.co.uk/blog/creating-art-in-this-economy monthly 0.5 2025-04-04 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1743757682480-EEVMLBIV8S7GCHB1WUUY/IMG_20250404_100017.jpg blog - Creating art: In this economy?! - Creating Art in Today’s Economy: Finding Value in What Matters In today’s economy, where everything seems to be driven by fast-paced consumerism and ever-changing trends, making art can sometimes feel like a challenge. The pressure to sell, to follow the crowd, or to create works that will appeal to the masses is constant. But as an artist, I’ve learned to embrace the truth that, despite the external pressures, the value of art lies in something much deeper than financial transactions or fleeting popularity. https://www.michaelart.co.uk/blog/the-journey-of-sharing-my-art-my-experience-at-holmfirth-artweek monthly 0.5 2025-03-31 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/86c672dc-4509-4316-b83e-077705799383/IMG_20250331_101615.jpg blog - The Journey of Sharing My Art: My Experience at Holmfirth Artweek As an artist, the act of creating is an intimate and personal experience. The joy of expressing emotions, thoughts, and stories through my work is unmatched. But there is something uniquely rewarding about sharing that creation with the world. One of the most significant moments in my artistic journey was participating in Holmfirth Artweek 2024—my first public art experience. It marked a pivotal moment where my work moved from my studio and into a shared space, connecting me with a wider audience and sparking new conversations around my art. https://www.michaelart.co.uk/blog/why-i-paint-people-the-connection-between-art-and-humanity monthly 0.5 2025-03-27 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/f9c7a829-3645-4edb-aea8-b6aa2022b8d3/IMG_20250111_154320.jpg blog - 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? https://www.michaelart.co.uk/blog/the-resurgence-of-figurative-art-why-the-human-form-is-back-in-focus monthly 0.5 2025-03-23 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/d42a5601-cc15-4a85-8fff-275e7692aab1/1690576341909+%283%29.jpg blog - The Resurgence of Figurative Art: Why the Human Form is Back in Focus For a long time, contemporary art was dominated by abstraction—gestural marks, geometric minimalism, and colour fields that left everything open to interpretation. But now, something is shifting. Figurative art—art that represents the human form—is making a powerful comeback, and it’s impossible to ignore. https://www.michaelart.co.uk/blog/the-emotional-palette-how-colours-influence-feelings-in-my-art monthly 0.5 2025-03-18 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/9cc5c508-4102-4092-9739-db07028923d0/1742222371071.jpg blog - 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. https://www.michaelart.co.uk/blog/the-art-of-repetition-why-doing-the-same-thing-over-and-over-fuels-creativity monthly 0.5 2025-03-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/decd9fc0-1f8a-4ec5-a28d-4c4d4fef2766/IMG_20250314_145309.jpg blog - The Art of Repetition: Why Doing the Same Thing Over and Over Fuels Creativity Repetition gets a bad reputation. It’s often associated with monotony, stagnation, and a lack of originality. But in art, repetition isn’t a trap—it’s a tool. Repetition is how we refine skills, develop style, and discover deeper meaning in our work. It’s how artists evolve, musicians master their craft, and writers find their voice. Instead of resisting it, embracing repetition can be one of the most powerful things you do for your creativity. After repeating one of my favourite drawings in a new medium, alkyd paint, I decided to delve into why repetition is important. Here is why… https://www.michaelart.co.uk/blog/your-artistic-voice monthly 0.5 2025-03-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1741694711418-QBB4V7CQAT1RPEF27PLD/IMG_20241210_091012.jpg blog - How to Find Your Artistic Voice (When Everything Feels Done Before) - The Problem: “Why Bother?” Ever sat down to create something and thought, What’s the point? Someone else has already done this—probably better, probably with more skill, more recognition, more originality. That little voice in your head whispers: Your work isn’t unique. Your ideas aren’t new. You’re just repeating what’s already out there. Sound familiar? You’re not alone. In a world flooded with content, finding your artistic voice can feel impossible. But here’s the truth: Your voice isn’t about being first. It’s about being you. https://www.michaelart.co.uk/blog/746vnt1h0wl9zc8d2319b56k3x7m4q monthly 0.5 2025-03-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/293893bf-f3c7-43c6-875f-d2399785bb89/IMG_20250303_091955.jpg blog - The Art of Being Real: Authenticity in the Creative Process Authenticity is the artist’s greatest power—and greatest struggle. In a world filled with trends, expectations, and endless comparisons, staying true to your own creative voice feels both simple and impossible. The pressure to make what people want rather than what you need to say can be suffocating. Yet the most unforgettable art isn’t the most polished or popular—it’s the most honest. https://www.michaelart.co.uk/blog/dancing-with-time-the-artists-most-elusive-medium monthly 0.5 2025-03-17 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1741174687957-5JP0YHX4BY59S36AT3EG/IMG_20250305_113529.jpg blog - Dancing with Time: The Artist’s Most Elusive Medium - Time. It slips through fingers like water, resists capture, and mocks even the most careful plans. For artists, time is more than just a background hum — it’s an invisible collaborator, a constant tension, a onlooker breathing over the shoulder of every creative act. The artist’s process is not only about pencils, paint or clay. It’s also about wrestling with time itself. https://www.michaelart.co.uk/blog/gelc0lhh2n3lxqjrx2cp9ict27z1lu monthly 0.5 2025-03-02 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/2c218699-d1e1-45d8-aeaa-ad380816c4cb/IMG_20250218_145007.jpg blog - The 4 hour portrait challenge - Make it stand out My first 4 hour portrait. 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https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/9a5ecd01-00b1-49b6-8aa0-712b63594f88/1693170750957+%282%29.jpg Home Old Close-up drawing of a human eye with detailed iris, partial face, and a blurred background. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/d42a5601-cc15-4a85-8fff-275e7692aab1/1690576341909+%283%29.jpg Home Old Black and white charcoal drawing of an older man wearing a beret and scarf, with a textured, detailed face. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/4f026629-19d0-4b14-a215-16670cfc7059/DOC002+%283%29.jpg Home Old Black and white drawing of a human eye with detailed shading and reflection. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/3b6cd17a-25d3-4809-bc55-4970750cc011/1690576341925+%283%29.jpg Home Old Black and white drawing of a woman's face with closed eyes and lips slightly open, showing textured lips and winged eyeliner. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/82734439-318e-4fff-a836-0f9ae868faed/1690576341940+%282%29.jpg Home Old Realistic pencil drawing of a human eye in grayscale. https://www.michaelart.co.uk/services daily 0.75 2023-07-28 https://www.michaelart.co.uk/contact daily 0.75 2025-03-31 https://www.michaelart.co.uk/experiential daily 0.75 2025-03-17 https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097844794-WNL1SUKFKUSP0XRD4RSP/download+copy+2.jpeg Experiential Design Modern living room with black fireplace, white walls, longhorn skull decor, and wooden stools. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097844818-SL2O0SRBUQUOP1W7U8A2/Stocksy_txp9c995bd1cMI100_Large_1192042.jpg Experiential Design Modern living room with white walls and ceiling, a white sofa, black fireplace, wooden floor, and decorative bull skull. A kitchen is visible in the background, along with houseplants and pendant lighting. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097844830-KDOO3MIVE9M0XKDFZ17M/Stocksy_txp9c995bd1cMI100_Large_1192029.jpg Experiential Design Minimalist room with white walls and a wooden bench decorated with patterned cushions and a white throw. A large, light-toned abstract painting hangs above the bench. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097844844-K9VX5UGL2THONC83FO2D/Stocksy_txp9c995bd1cMI100_Large_1183977.jpg Experiential Design Indoor fiddle leaf fig tree in woven basket next to white curtain and minimalist decor, including a horse nose art print and a potted plant on a light-colored wooden dresser, against a white shiplap wall. https://www.michaelart.co.uk/residential daily 0.75 2025-03-17 https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097854689-2U7YTLVSY8OZACPT07G6/Stocksy_txp9c995bd1cMI100_Large_1192028.jpg Residential Design Minimalist white bedroom with a large bed, decorative pillows, macrame wall hanging, curtains, potted plants, and nightstands with books. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097854680-80YCV3A68EHKVOSMHZDC/Stocksy_txp9c995bd1cMI100_Large_1183996.jpg Residential Design Modern interior with two horse art prints and a potted aloe plant on a dresser. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097854700-LUPCQ4VY3322UZ39NJGU/Stocksy_txp9c995bd1cMI100_Large_1184005.jpg Residential Design Minimalist home office with white shiplap walls, a wooden desk, computer, potted plants, and a window with a white curtain. https://images.squarespace-cdn.com/content/v1/624b3c6d0861883611fb6b52/1649097854670-91Y00NP70P22VHCP5K97/Stocksy_txp9c995bd1cMI100_Large_1184002.jpg Residential Design Minimalist bedroom with a white dresser, small plants on top, and three horse-themed art prints on the wall. https://www.michaelart.co.uk/home daily 1.0 2025-03-31 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/9c4f6c3b-a706-475f-ad9d-706f3aa98ed5/Accept+Me+-+Cropped+and+straightened+-+1.jpg home Framed artwork of a female face with abstract makeup, dark blue and purple eyeshadow, and paint dripping down the cheek. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/a3bf6ab6-2640-46c4-9f4d-23cbec536da2/1708029399929.jpg home Black and white drawing of a human eye displayed on an easel in an art studio. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/2f183f51-5e5d-4b0a-9a2d-1d9c83623750/1708030290758+-+crop.jpg home Close-up black and white drawing of a human eye and part of a face. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/446ab3d2-a6ef-4f2d-b4b9-1296a27a4c12/1708030290715.jpg home Black and white drawing of hands washing under running water with soap bubbles https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/1697741886776-E8ACD4KPBEU5FO40ZVPA/DOC002+%283%29.jpg home Close-up pencil drawing of a human eye with detailed eyelashes and reflections. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/3b6cd17a-25d3-4809-bc55-4970750cc011/1690576341925+%283%29.jpg home Black and white drawing of a woman's face focusing on closed eyes with winged eyeliner and full lips, clipped to a wooden background. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/2570dcb5-afbd-4d6e-9cf3-6a104f78acd9/1708030290667+crop2.jpg home Close-up of a woman's face, emotional expression, realistic black and white drawing https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/bf2f4c9f-62ce-4253-9d02-8438e53bdb6c/IMG_20250126_143219.jpg home Abstract painting of a man's face with pixelated distortion, highlighting eyes and facial features. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/4122558f-9358-440b-9343-1cde20b49537/20230821153025157_0006+-+cropped.jpg home Pencil drawing of close-up lips with visible teeth https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/416b19e6-1219-4e6a-ae5c-37844dfa99bb/1708030290737.jpg home Charcoal portrait of an older man wearing a beret https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/92ecf561-3397-4c7e-b424-8d5c62ca16ec/20230821153025157_0004+-+cropped.jpg home Detailed pencil drawing of a human eye, showcasing realistic eyelashes and skin texture. https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/32882100-8165-496e-8e9a-326fa1381e2b/1708028935192.jpg home A man sitting beside a detailed black and white drawing of himself on an easel, holding a pencil near the drawing. https://www.michaelart.co.uk/created-for-you daily 0.75 2025-03-31 https://www.michaelart.co.uk/feel-and-frame daily 0.75 2025-03-31 https://www.michaelart.co.uk/feel-and-frame/originals monthly 0.5 2025-03-31 https://www.michaelart.co.uk/feel-and-frame/p/accept-me-original-artwork monthly 0.5 2025-03-31 https://images.squarespace-cdn.com/content/v1/64c41b7473d5f9659eac3ca3/9c4f6c3b-a706-475f-ad9d-706f3aa98ed5/Accept+Me+-+Cropped+and+straightened+-+1.jpg feel and frame - 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