As promised, I’m back this week with more behind-the-scenes insights as I prepare for the Manchester Art Fair in November. This past year I’ve been experimenting with abstract drawings in my sketchbook—often with my eyes closed—allowing my instincts to guide the process. These spontaneous, expressive drawings have felt incredibly exciting to me, both in their energy and in the way they’ve pushed my compositional ideas in new directions.
For much of the year, I followed this creative thread without knowing whether these explorations would find their way into my paintings. Although looking back at the solo show I did late last year, I was exploring these same themes and ideas then. The large works on paper from that exhibition featured expressive marks, a lot of white space, and a heavy use of line—similar to what I’m developing now. It’s fascinating to see how ideas stay with me, how I keep revisiting themes and processes pushing the concept further each time and reaching new levels of understanding.
A Technical Development
In playing around with how to take the drawings further I made a useful breakthrough in discovering the use of dry pastels in my paintings. In the past, I would often draw with oil pastels, but using the amount of oil pastel with acrylic these pieces demanded left me concerned about the stability of the paint.
After discussing this with a fellow artist, I decided to try using dry pastels instead. This proved to be the answer. Not only did the dry pastels integrate beautifully with the acrylics, but the lines they produced also felt dynamic, fresh, and full of energy. There was something about the quality of the dry pastel marks that added a different dimension to the work. It was a simple shift in material, but it opened up exciting possibilities for these paintings.
New Work for Manchester
I’m thrilled with the direction of these paintings following this technical development. The new paintings are an exciting unfolding of these recent themes. They feel expressive and emotional, with dynamic brushwork, abundant use of line, and large areas of white space that allow the forms and marks to breathe. I’ve been moving between moments of intense expression and quieter, more reflective spaces, giving the paintings a sense of balance and movement.
As I look at the work the white space seems to play an important role in activating the work. Maybe it allows for a more dynamic relationship between the marks and shapes, creating a rhythm that feels alive. Each painting feels like an exploration of how these elements interact—how the lines, brushstrokes, and open areas come together to form something greater than the sum of their parts.
I’m very happy with where I have landed with these new pieces, a selection of them will be with me in Manchester, and I can’t wait to see how they’re received.
Until next time, stay inspired!