Freelands Painting Prize

More exciting updates… I’m in a group show in London opening at the end of this month!! Click here to book to attend the virtual opening. I still have to pinch myself with this one, it feels a bit surreal. I can’t wait to go and see the exhibition in person.

New relationship with DegreeArt

I’m beyond excited to announce my new relationship with Degree Art, a leading online gallery for promoting emerging graduate artists! A careful selection of my paintings and drawings are now available to buy on their website. All my online sales will now go through DegreeArt.com.I’m chuffed to get to work with them, and jump in…… Continue reading New relationship with DegreeArt

Online Degree Show

So a physical degree show wasn’t possible, but an online one has gone ahead! Check out the website here.

The medieval universe and a painting by Botticini

I am looking at paintings titled ‘The Assumption of the Virgin’, they’re all paintings from the Renaissance or older. The most compelling ones, to me, are the ones with incredible rendering of dark and light. It appears that light is really important for creating atmosphere in a painting. There’s something tangible, something present, something palpable…… Continue reading The medieval universe and a painting by Botticini

Hughs R. (1991). The Shock Of The New, Edition 2?, London: Thames and Hudson Ltd

‘The silence of nature itself, in which the random noises of culture were swallowed up – was one of the dominant facts of medieval life, outside the cloister as well as inside it.’ P.324‘…might well have exceeded anything we take for “normal” cultural experience today. Now we see the same cathedral through a vast filter…… Continue reading Hughs R. (1991). The Shock Of The New, Edition 2?, London: Thames and Hudson Ltd

Honnef, K., 1988. Contemporary art., Taschen.

‘Periods of antagonism between man and the world have been the rule, and those of unity the exception – which is why the history of art has known very few periods of classicism, but an enormous number of anti-classicist movements.’P.85