I ship a lot of collage work — small studies, commission pieces and fragile mixed‑media experiments — and over the years I’ve learned the hard way that exposed torn or layered edges are the most vulnerable part of a piece. One knock in transit, a sweaty day in a van, or an overzealous...
Turning a tiny corner of my studio into a portable live‑teaching setup was one of the best...
I often get asked how I photograph iridescent and interference paints on canvas with nothing more...
Keeping collage seams intact through framing, handling and shipping is one of those small victories...
I wanted to understand why my tubes of Schmincke gouache behaved so oddly on a particular paper...
I photograph a lot of textured, mixed-media pieces for the journal and for my own practice, and...
I often get asked whether to use a matte or satin varnish on mixed media pieces that combine...
Keeping collage seams intact through framing, handling and shipping is one of those small victories in my studio that makes exhibitions and sales less stressful. Over the years I've repaired my share of popped corners, lifted edges and discoloured tapes — and I've developed a workflow that keeps seams secure and stable while respecting archival standards and the delicate look of collage. Below...
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I wanted to understand why my tubes of Schmincke gouache behaved so oddly on a particular paper I’d been experimenting with in the studio — a sheet I had sized to a silky finish using a dilute animal glue sizing and a couple of coats of Chinese silk sericin mix (a workflow I’d been using to get a smooth, low‑absorbency surface for collage and ink). The same colours that behaved...
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I photograph a lot of textured, mixed-media pieces for the journal and for my own practice, and over the years I’ve developed a simple approach that works reliably with just a phone and a single light. The aim is to make texture sing — to capture ridges of collage, brushstrokes, torn edges and surface sheen — without needing a studio full of kit. Below I share a one-light set‑up, camera...
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I often get asked whether to use a matte or satin varnish on mixed media pieces that combine acrylic and gouache. It’s a deceptively simple question—one that opens into considerations of colour depth, surface texture, light behaviour, and practical protection. Over time I’ve developed a little decision flowchart in my head (and on scraps of paper in the studio) that helps me choose the...
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I always approach studio visits with a clear intention: to turn generous, focused conversation into practical edits that push work toward clarity and, when relevant, gallery readiness. Over the years I’ve learned that a ninety-minute visit is a sweet spot — long enough to get under the surface, short enough to keep momentum. Here’s the structure I use (and adapt) that makes those visits...
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I love pushing the limits of materials — the meeting point between gouache’s matte, velvety presence and acrylic’s resilience is one of my favourite playgrounds. Over the years I’ve developed a workflow for creating small hybrid studies that retain gouache’s delicate surface but can safely be varnished or handled without the gouache lifting or changing tone. The keys are an...
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I switched to solvent-free oil painting mediums a few years ago and, like many painters, I worried about losing the handling qualities and drying behaviour I relied on. What surprised me was how small adjustments — a little warmed linseed, a touch of alkyd resin, a dash of natural dryers — can recreate the familiar buttery feel and keep reasonable drying times without the need for turpentine...
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I make prints at home quite often — not just for editions but to proof files before sending work to a lab. Over the years I've developed a repeatable giclée proofing workflow using an Epson flatbed photo printer (I mostly use the Epson SureColor P600 and P800) and printable colour targets. It’s honest, practical and doesn't require sending everything out for profiling. Below I share the...
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I love iridescent and interference paints for the way they shift — a colour that seems to breathe as you move. Photographing them with a phone can feel impossible at first: the camera often flattens the shimmer or misreads the colour, and you end up with a dull patch where the surface had life. Over years of testing in my studio, I’ve found simple lighting and exposure tricks that help...
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When I prepare an artist statement for a gallery submission or an open call, I aim for one page that feels like a clear invitation rather than a dense manifesto. A well-crafted one-page artist statement helps curators and selectors understand the intention behind the work, the ideas driving your practice, and the practical context—without demanding too much time from a busy reader. Below I...
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