Over the next few editions of Insights from the Studio, I’ll be sharing details about the new work I’m taking with me to the Manchester Art Fair coming up in November, as well as offering a peek behind the scenes at the processes that have shaped this collection.
But first, as you might expect… it’s time to take five!
New Work for Manchester
I will begin with a small series of seven paintings on canvas inspired by two pages from the summer sketchbook challenge.
One of the exercises in the challenge this year was to set aside a couple of pages to work on every day over the last two weeks. This was a fascinating process for me filled with exciting discoveries. The end result was a double-page spread with exciting small shapes sitting at the edges and larger areas of softer colours, yellow and aqua.
With these sketchbook pages as my inspiration, I began working on a few small canvases to explore how the ideas might evolve when translated into larger pieces. This process of translation is often an intriguing one. What works easily on paper in a sketchbook—which is a more contained space—often requires development when scaled up and taken out of the sketchbook container. On canvas, elements like composition, colour, and texture often need to be reconsidered and expanded. Some ideas will be pushed on further, others may need to be reimagined, and yet others will fall by the wayside. In this shift from sketchbook pages to finished paintings an intriguing transformation happens, where an initial spark of inspiration can be further explored and move into new areas and possibilities.
The elements that really caught my interest in this translation were the return to rich, thick textures in my paintwork. Earlier in my practice, I frequently worked with thick, textured surfaces, but in the last couple of years I’d shifted to using washes, glazes, and stains. Revisiting these textures felt like coming full circle—except this time, with more confidence and clarity in how to integrate them into the work.
Another element that excited me was the addition of fluorescent paint. I used it sparingly—a little goes a long way—but these small, vivid pops of fluorescent colour brought a dynamic energy to the paintings. This bold, bright accent felt like an essential layer, adding a surprising and playful contrast.
The palette was the third element, the mix of colours excited me. A soft lemon, my favourite aqua, black, bright orange, pink. Quite a mix and an interesting challenge to make them sing together.
The new elements that became part of the final work was to bring in plenty of line and drawn in patterned elements. Not something that had been part of the original sketchbook pages. I had completed the paintings without any drawn in line but as I left them to sit and breathe I felt they needed something further to bring in more dynamic energy and activate them which led to the final versions below.
Four of this small series will be with me in Manchester with others off to Christmas shows.
Next week, I’ll dive into how I’ve taken my recent abstract drawings as a starting point for another series of work, pushing those ideas even further.
Until then, stay inspired!