Tube reds are reliable and flat. The red I make by hand from madder root is neither — and that is exactly why it stays on my palette.

Four canvases, one week of sea fog and the decision to stop sooner than I wanted to.

Fourteen works, two days, one spirit level and a long conversation about where the eye should rest.

Most of my paintings start as a page I almost threw away. Here is how the small books feed the large ones.

Crates built to size, humidity cards, and why every painting travels with a handwritten note.

What ‘edition of 25’ really means at Dunavi, and why we will never reprint a sold-out edition.

Coffee, a cold room, the best light of the day — and the reason I never paint after two in the afternoon.

Size, light, payment plans and the question nobody likes to ask out loud. Straight answers to all of them.