Wilks Restaurant Show

My show at Wilks Restaurant starts today and runs for a few months (actual end time, TBC) The Restaurant is one of only two Michelin starred restaurants in Bristol, serving truly wonderful food in a stylish and cosy setting.

I’m showing around 18 pieces, all paintings of Bristol, painted on location within the last year. Everything is for sale and prices range from £425 – £850.

If you’d like to pop in to view the paintings without eating, just contact Christine via phone, on 0117 9737 999 or email.

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January Show – Wilks Restaurant

I am showing around 20 paintings of Bristol at Wilks Restaurant from the 13th of January through to April.
Wilks is one of only two Michelin starred restaurants in the city and is situated on Chandos Rd, Cotham. Please stop by to view the work and have a truly special meal.


Here’s a sample of some of the pieces on show.

Avon Gorge, grey day, December
Avon Gorge, blue sky, November Avon Gorge, flat light, October Avon Gorge, white light, November   Cifton Suspension Bridge, October Cotham Brow, contre jour, January    Foggy morning on Park Street, October  November_Afternoon,-Bristol-Downs  Queen's Square in snow Sunburst on the downs, November

Beaux Arts, Bath

I am thrilled to report that I am now showing with Beaux Arts, Bath. It’s a top gallery with a fantastic collection of Artists and I am proud to be joining their roster. I am showing 4 new still life paintings in the upcoming show “New Works For Christmas” – 16 November to 24 December. Do put the date in your diary and come down.



The Artist Magazine article

The current issue of The Artist features an article I wrote on painting en plein air and also a stage by stage example of an outdoor painting I did of Clifton Suspension Bridge. It’s in shops now, so do treat yourself.

Here’s a preview.



New Studio

I recently moved into a new studio in Jamaica Street, Bristol. It’s a great studio, 3 floors of talent and some lovely people working here. I got lucky with the room I got, it’s a real corker, an L-shape which is really interesting in terms of painting interiors. I have plnty of room and Dad came down today and we built a framing storage structure and framing area. So pleased with it, thanks Dad 🙂



Tinca Gallery

I am delighted to now be showing with Tinca Gallery in Portishead run by the lovely Marianne and Catherine. They have a great location and have done  a really wonderful job on the gallery, it’s a top space. Pop down there to see my local Bristol plein air paintings and coastal pieces of Clevedon, etc.


ROI selection

I just found out my painting “Van on Bond Street” has been selected for the annual ROI show at Mal Galleries, London. Marvellous news. The show runs from Wednesday 2 December to Sunday 13 December, 10am – 5pm. Get down there and spend some of your pocket money.


Still Life/Interiors

I’ve been painting indoors a lot recently. I have a love/hate relationship with painting plein air in summer, strange really, the brighter the sun shines the more it puts me off. It’s to do with the angle of the sun, rather than the sun itself; I like it low in the sky, not directly overhead and I don’t like the heat. in the second half of the year when the sun is lower and in winter, when it’s really low, there is an atmosphere that I just love. There’s a sort of stillness and grey peace about everything that I find really inspirational. I also don’t enjoy painting saturated colours outdoors that much. I prefer greys. Painting on the coast in summer is wonderful though, that I can handle, but not really urban areas.

Anyway, Still life. Well, are they still life? Or are they interiors? I can’t decide, not that it really matters. a few years ago I was chiefly interested in objects, not rooms. Over time though, I have come to be equally fascinated by walls and how light plays on them, placing the objects in context and giving them a real space to occupy. I’ve also been keen to paint with a “warts & all” approach, as I do outside, so if I can see it, it’s going in. That means tripods, cables, boxes in the corner, anything that’s in my field of vision is getting painted. This has excited me no end, in a sort of “peek behind the curtain” way of showing the source of the light and making that as much a part of the composition as the still life objects themselves.

So, here’s a few recent pieces, all painted directly from life of course with my convex mirror. These are also the final paintings done in my home studio as I have now moved out and into a truly wonderful space in Jamaica Street Studios. I post pics of that later. I’ll miss the windowsill of the spare room and its lovely lines, but this new space really is pretty special, so it’s a fine trade off.

This first piece is currently on show at the annual RWA show in Bristol 4th Oct – 29th Nov

Studio corner with smart phone

Studio corner with skull and coloured cubes

Studio corner with pink rose and cubes

Studio corner with green jar and cubes photo

New Arrival

Some big news has arrived in the form of my first child! Louis Curmi Hughes was born at 8:37am on the 16th of August weighing 7.5lbs and is the most beautiful thing I’ve ever seen. It was a shaky start but he’s found his strength and he and mum are doing great.


Panter & Hall

Panter & Hall

I am delighted to say that I am now showing with Panter & Hall gallery on Pall Mall, in London. It’s a top venue and run by the lovely Matthew and Tiffany. My first outing with them will be at the 20/21 British Art Fair from the 9-13 September at the Royal College of Art.




I just got back from an amazing painting trip to Newquay in Cornwall and wanted to share it with you. The weather forecast looked pretty decent, but the Gods must have been smiling as I was treated to two days of unspoiled sun-baked perfection (albeit a difficult and incredibly windy first day) I drove down on Wednesday morning with the car loaded with about 18 boards of varying sizes and a few picnic supplies. While pulling over to set up the sat-nav I stumbled across this Spitfire in someones front garden. Marvellous. Not something you see every day!


I headed to Bedruthen steps for the first painting of the day as I wanted to work my way around the Cornish coast in sequence, seeing as the last beach I visited on the previous trip was was Treyarnon bay which is just up the road. Bedruthan steps are pretty dramatic and sit there getting pounded by a green sea as birds circle over the steep cliffs. It’s great. I did a 12 x 10″ then walked further down to the steps themselves which lead incredibly steeply to the beach. As interesting as this was it didn’t provide a better painting spot so I retreated back to my original spot and did a 14 x 12″. The wind was gusting with gusto and if it wasn’t for pushing my tripod against the wooden fence, I’d have been in real trouble. A fair few onlookers came down to ask me if I was mad as they could hardly stand up as they walked along the cliff edge. I told them light breezes are nothing to worry about and got on with it. Hardcore. The light and sky was changing very quickly as it always does with high wind, so the colour temperatures were all over the place. I felt I kinda captured it though.



Painting in the wind is really tiring, so I retreated to the car for a coffee on the camp stove and some chocolate. It’s great to be able to have these treats in the middle of nowhere and they bring real comfort after an intense period of work in difficult conditions.


Next up was watergate bay in Newquay. I have never been to Newquay before (how, I don’t know, everyone seems to know it well apart from me) so was keen to see the place and was really pleasantly surprised. The bays around the town are wonderful, it’s a pretty special place and I can see why so many people descend on it during the summer season. Classic Cornish bays and beaches with a medium-sized town plonked right on the edge of it all. It’s all on your doorstep. I painted looking North first of all, 10 x 8″ as the kite surfers appeared, then spun around to paint South as the sky darkened a bit and people started to leave.

Watergate bay with kite surfer, July – Oil on Board – 10 x 8 in 25 x 20 cm

Watergate Bay, Afternoon, July – Oil on Board – 12 x 10 in 30 x 25 cm

I was knackered after this piece so found a pub on the cliff top and stuffed myself to bursting with a pretty decent fish and chips. The beer garden looked out over the bay as the sun set, lovely.


I was staying at an Air B&B called the green house surf hostel (or something!!) which was run by Mark, the nicest bloke you’ll meet in Newquay. It’s a small hostel designed for surfers and complete with pool table and communal fridge. Mark made me feel instantly at home. Here’s a pic of the handsome devil. What a legend.


I had decided to paint locally for a while as it seemed there was easily enough subject matter in Newquay itself to fill a few days painting. I started at Tolcarne, high up on the cliff top looking down onto the beach. The sky was clear as a bell and it was already getting hot. Due to the angle I was at and because I was painting portrait, I could see from the horizon right down onto the sand below. An angle I definitely want to repeat before long as it’s pretty dramatic. I loved it. I enjoyed mixing the colour for the wet sand as it was a combination of cool mauves and warm ochres. A great spot and lots of technical stuff to get my head around.


I packed up and headed for Fistral after Tolcarne and was really impressed upon arrival. Again, I really wasn’t expecting this variety of coastline so close to a big town. The beach was absolutely packed (Don’t these people have jobs?!?) and I set up on the North end, looking south with the sun blasting across the beach from the side. I smothered myself in suncream, gulped a pint of water and got on with a 14 x 12″ I met some nice people while working and helped out with a fair few photos that would have been selfies without my assistance.


I thought there might be a good spot further down the path so packed up and set off out towards the peninsula. There was some lovely smaller discrete bays, but I wanted to paint people after seeing that swarming beach, so headed straight back to the same spot to try a 18 x 8″ contre jour, now the sun had swung around to its midday position. This was a tough painting and I kept having to check it in the full sun (I hate painting in the shade, it rarely goes well) but after some wrestling and audible swears, I think I steered it in the right direction. The tide had also receded a lot at this point, so I needed the width to still get the sea in.

Fistral beach, early afternoon, July – Oil on Board 18 x 8 in 45 x 20 cm

I still had one more in me so packed up and walked the length of Fistral to the opposite side. The view from the coast path was wonderful, despite some truly hideous modern architecture on the edge of the golf course. The Headland Hotel on the other hand looked amazing in the late afternoon light. I did another 18 x 8″ as the sun dropped lower and lower and felt truly lucky to be doing this as a living.


I packed up and walked back up the beach to the car, past a group of women practising yoga as the sun went down. One of them had a T-shirt on that said “follow your dreams” Aww. It’s true, you should.


I was starving and exhausted at this point and wanted to eat dinner at the same spot I painted from while I watching the sunset. A quick poke at Google revealed a Domino’s Pizza place in town (I didn’t think my arteries had taken enough of a battering yet) so I zoomed over and back with a large pepperoni passion that I ate next to the yoga girls just to wind them up. I was also being watched by a seagull, I’m assuming the same one that attacked me in Padstow… he probably recognised my car coming down the A30.



I spied this VW camper in the Car Park at Fistral, thought it interesting.



I slept like a log that night and awoke to a rather heinous dose of sunburn, despite multiple applications of suncream over the previous days working. Mark suggested we hack open his Aloe plant in the garden of the hostel so disappeared inside to get a breadknife and pair of pliers. I have an aloe plant at home that I harvest for burn treatment regularly so was pretty chuffed there was a massive plant in the garden when I really needed it. We hacked off a toast-sized section of leaf, split it and I rubbed it vigorously over my burned neck and Mark slapped some on his arm. Within about 6 seconds I was in total agony, it felt like I’d poured battery acid over myself and I had to run inside and wash it all off. A Malaysian guest in the garden proceeded to inform us that no, that type of Aloe shouldn’t be used as it’s poisonous, you should stick to the Mexican ones only. Bit late!!!



So, I set off to get some work done, despite my 3rd degree chemical burns and headed for Crantock bay. Crantock is truly beautiful – a river estuary flowing out into a green sea, surrounded by dunes. I did an 18 x 8″ from the North side as the tide came in, then drove around to the South side, down to the actual beach to do another.

Crantock beach, afternoon, July – Oil on Board 18 x 8 in 45 x 20 cm

Both car parks were full, one in, one out, so there was a 30 minute wait but it was worth it. The beach is pristine and has a wonderful flow to it, with the river peeking around the corner before meeting with sea. I did a 14 x 12″ and then had a little stroll on the beach as it started to cloud over.

Crantock beach, late afternoon, July – Oil on Board 14 x 12 in 35 x 30 cm

The next large beach on the way down the coast was Perrenporth. I stopped briefly at Holywell Bay and took this pic, then continued on.


I had surfed at Perrenporth many years ago and it was totally different to how I remembered it. everyone was packing up for the day as I swung into the car park. A kind chap offered my his car park ticket as he left which I took, parked and set off to the beach. The light was soft and fading so I worked very quickly to get it before it all changed too much.


I got back to the car to find a penalty notice stuck to the window. Apparently my ticket was no good after all and I furiously opened the packet to be greeted with a £100 fine. Ouch. But, on checking the free ticket I was given, it was actually good until the following day, so I ran off to chase down the car park attendant to get the fine voided. Hurrah!

All in all a fantastic trip. Cornwall is amazing and the people were all lovely. I got a good amount of work done and continued on to Falmouth for two days of boozing with my girlfriend and other chums. Life is good.


The New English Art Club Annual Exhibition

I had a great evening yesterday at the annual New English Art Club exhibition at the Mall Galleries in London. It’s my favourite show of the open exhibition calendar and I was truly delighted to have three paintings selected this year and also be up for election. I arrived later than usual so missed the buffet (although the mini café at the Mall does a nice duck sandwich) but had time to get around the whole show before the crowds arrived and the temperature rose by 15 degrees. I got to meet a lot of new people and put name’s to faces and paintings to names which was lovely. The New English are a very friendly bunch.

The prize giving started at 6pm and I was truly honoured to win the NEAC critics prize, which as I understand it, is chosen by the NEAC members, selected art dealers and art critics. It’s wonderful to be highly regarded by your peers so this award was quite special for me. Thank you, those that voted in my favour. Congratulations to all the other prize winners, including James Bland, Janine Baldwin, Arthur Neal, Sarah Jane Moon, Michael Weller, Michael Whittlesea and June Berry. There was a hilarious moment when (I’m assuming someone’s mum) screamed YeeeeeEEESSSSSSSSSSS!!!!!! When her (I assume daughter) scooped a prize. You can’t beat a true expulsion of genuine emotion. Top marks, m’lady!

Here’s some pics of some work that really tickled me. It was a strong show as always, apologies if I haven’t given you a mention!!

Here we go…





Richard Pikesley NEAC

Richard Pikesley NEAC
Michael Whittlesea NEAC

Michael Whittlesea NEAC
Alice Boggis-Rolfe

Ben Hope
Tim Benson VPROI
Peter Kelly NEAC RBA

Jessica Miller
Alan Palmer
Haidee-Jo Summers
Roy Connelly

John Dobbs

Ruth Sage NEAC
Ruth Sage NEAC


RA Summer Show

I toddled off to London yesterday for the Varnishing Lunch at the Royal Academy Summer Exhibition. It was traditionally a chance for exhibiting artists to touch up and fine tune any of their exhibiting paintings just before the show started whilst they were already on the wall. These days, it’s more of a piss-up brunch for the artists and a short award ceremony. Hurrah!

I felt pretty rotten as I got to Piccadilly, having slept terribly for 3 nights in a row so a headache of biblical proportions was rapidly forming and quickly developing into a migraine. I attended the church service at St James’s because I like listening to choirs, then made my way back to the RA for some strawberries. They do a great job at the RA feeding all those starving (some perhaps literally) artists with a constant supply of Champagne, wine, cold cuts and olives. I got stuck in and ate a bowl of strawberries and cream while I queued for the meat. (what’s wrong with me?!)

The RA is a bit of a maze, many of the rooms look the same so it can be hard to tell where you’ve been and where you should be going next. It took me ages to find my painting and, as per sod’s law, it was in the last room I entered. Grayson Perry’s enormous tapestry was hanging in the same room which was great. I love the man’s work; thought-provoking ideas brought to life by wonderful choices of materials and professional execution. Top stuff. Many can, and should learn from this man.

The room I was in was well-hung, I thought. Nice and busy, but not crowded. The exhibition as a whole seemed far sparser than I remember it in 2013, which I missed somewhat. I love the floor-to-ceiling approach, it makes a nice change from most other shows and just seems to work in that space.

I bumped into Andrew Lansley who also had a piece in the show, a lovely painting hung incredibly high up!! (see pics) Nice work Andrew.

Here’s some pics and selected works that resonated with me. There wasn’t a great deal that I was really drawn to, to be honest. Maybe it was the headache. I did however, find Norman Ackroyd’s small etching “Gannets on Flannan” to be particularly moving. That was piece of the show, for me. Superb.

Here be pics.




“Beijing Hutong 3” – etching –  Austin Cole
“Looking South” – woodcut – Pine Fedora
“After Escher” – Etching – Martin Langford
“Isola Bella – Lake Maggiore” & “Storm approaching – Lake Maggiore” – Etchings – Paul Hawdon 
“Daneway House, Gloucestershire” – Wood engraving – Donald Myall
“Jagdish Chowk, Udaipur” – Etching – Will Taylor
“Gannets on Flannan” – Etching- Norman Ackroyd RA
“Bacini Quartet” – Oil – Ken Howard RA
Lower Mosley Street, Manchester – Oil – Michael John Ashcroft
Grayson Perry
“Lydes Farm” – Egg Tempera – Andrew Lansley
Andrew and his painting on the far wall.


Here’s some pics of mine.

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Sunday Afternoon, Severn Beach, November


Royal Academy Summer Exhibition Selection

I was lying in bed the night before, thinking about it. Will it get in? The painting had made it through the first two rounds, but I didn’t want to say anything for fear of jinxing it. I was really pleased with the piece, it’s actually my fav thing I’ve produced these last three years, so I had to really think about whether I wanted to let it go. I got the email when I was painting in Hampstead yesterday and it gave me a nice lift. It’s dumb to put too much emphasis in these comps and opens but as soon as you enter, you can’t help but get wrapped up in it and get excited. We all want our work to be accepted, in whatever form that may take.

I’m really looking forward to the varnishing lunch, I went 2 years ago for the first time and it was a brilliant experience. The RA put on a spread that puts the Mall Galleries to shame (sorry chaps, step your game up!!!) There is champagne, strawberries (piled a foot high in silver bowls) cream, cakes, nibbles of all kinds… it’s a buffet connoisseurs heaven. That Mall Galleries dig was below the belt actually, they’re great at putting on a spread 🙂


Sunday Afternoon, Severn Beach, November

Sunday Afternoon, Severn Beach, November – Oil on Board – 10 x 8 in 25 x 20 cm


I have been doing a few trips recently to the big smoke, our nations glorious capital, to get some work done. I’ve been thinking a lot about street scenes recently and I’m also really interested in painting into the sun, or “contre jour” if you want to sound like you know what you’re talking about. I love painting in central London, it’s far more imposing, hectic and dynamic than Bristol, there really is no substitute for it. The constant stream of red buses and taxis give it such an iconic feel, it’s almost as if it’s its own country. It’s busy though, and that can really wear you out over a full day. I get up at 5:45am to get the 6:45am bus from Bristol, but depending on traffic, this can still mean rolling into Victoria at 10:30am if you’re unlucky. I use the bus ride to read, so I’ll get 5 hours of reading and 5 hours of painting in one day, pretty productive really.

I rarely have an idea of the specific scene I want to paint, but I do tend to have an area in mind. Hopping on the No.11 drops you at Trafalgar square in about 10 mins so I normally start from there and stroll around. I’ve had my eye on Piccadilly for a while as it’s so wide and the sun blasts right up it in the afternoon, perfect!

I had a lot of chats on the street as I worked, people are forever stopping to engage which I don’t mind at all unless the painting is going badly. I had one chap ask if I could paint a tiger on the back of his iphone. It was worth him asking I guess.

Food stresses me out on these long day trips – what to eat and do I bother taking food with me? I had roasted a big pile of veg and chicken the night before I set off and put it in the fridge. It turns out cold soggy vegetables in a tupperware don’t taste too great the next day. I felt a deep sadness as I sat there off Bond Street, chewing through a cold, baby food-esque paupers lunch. I’ll treat myself to a KFC next time I think.

I am obsessed with white transit vans. There is something about the shapes and strong contrasts that I love. People often seem puzzled as to why I am making a painting “about” a van, with everything else as a secondary visual focus. I just think it looks cool, that’s it. I’m a great believer in painting from the gut/heart and not choosing subjects and scenes just because you think they will sell. You’ll get a personal style far quicker by painting instinctively. I really think quality is all that matters.

I also ventured up Hampstead Heath to Parliament Hill. The view up there is amazing, similar to the Greenwich Observatory, but from the opposite direction. It was warm, with a light breeze and everyone seemed happy. I painted the skyline with the benches on the horizon while joggers, students and dog walkers milled around me. Nice spot.

Here’s some pics.

Brazilian Embassy, Haymarket, May

Brazilian Embassy, Haymarket, May – Oil on Board – 12 x 10 in 30 x 25 cm

Outside the Royal Academy, Piccadilly, May

Outside the Royal Academy, Piccadilly, May – Oil on Board 14 x 12 in 35 x 30 cm

Taxi on Piccadilly, contre jour, May

Taxi on Piccadilly, contre jour, May – Oil on Board 14 x 12 in 35 x 30 cm

Towards Westminster from Embankment, April

Towards Westminster from Embankment, April – Oil on Board – 12 x 10 in 30 x 25 cm

Van on New Bond Street, May

Van on New Bond Street, May – Oil on Board 14 x 12 in 35 x 30 cm



“En Plein Air” Show – Hybrid Gallery, Honiton.

My partner Serena Curmi and I currently both have a show on at Hybrid Gallery in Honiton, Devon. My show is entitled “En Plein Air” and features 12 plein air paintings from the Devon and Dorset area and also 2 small still life paintings of jars. Serena’s work is in the main gallery and mine is in the back room. The gallery is owned and run by Tim and Jacqueline, both lovely people, so do pop in to see the work if you can.



NEAC Selection

I was recently delighted to discover that I’ve had 3 paintings selected for this years New English Art Club annual exhibition at the Mall Galleries in London. It’s a real highlight of the open exhibition calendar and is always a very strong show. Congrats also to my fellow plein air painters Karl Terry, Haidee-Jo Summers, Roy Connelly and Benjamin Hope for also getting selected.

The show runs from 19 – 27 June.


Balmoral with ice cream van Clifton Suspension Bridge, contre jour, January_2 Studio corner with suncream

The RP

I had great time at the annual Royal Society of Portrait Painters show yesterday which kicked off at 11am at the Mall Galleries in London. It was rammed by the time I got in there at 11:30, I don’t think I’ve ever seen it that busy. Private views aren’t the best time to go to a show if you really want to see the paintings as you can rarely get far enough back from the pieces without either stepping on someone’s foot or elbowing a cucumber sandwich out of someone’s hand. Still, I did a quick couple of laps and took some snaps of my favourite pieces of which there was quite a few. It was a strong show.

The exhibition was formerly opened by Sue Lawley to great effect before the prizes were announced to a now even more packed and increasingly humid room full of wine-gulping, perspiring art-lovers. I had the great fortune to win the Smallwood Architects Prize for Contextual Portraiture, so had to slither my way to the front like a naughty school boy being called out in assembly. I’m short, so people don’t notice me in crowds and don’t tend to let me through without some argy-bargy on my part. There was about 5 hands to shake, lots of “thank you’s” and then a succession of grinning photos before being ushered off the platform to make way for the next prize winner. A rather bemusing experience, but one made sweeter by David Cobley shouting “WELL DONE TOM!” from the back row. Cheers David. Also, a huge thank you to Smallwood Architects for actually buying my painting as well as awarding it the prize. I am most appreciative. 

Being too shy to network effectively I just had a proper good chin-wag with Mr Cobley and Teri Anne Scoble before escaping into the sun-kissed afternoon for hot & sweaty painting session. Packing light meant that I wasn’t really dressed for a private view, so I looked like a right little oik!

Here be pics. I’m so sorry to the majority of these artists who’s name I didn’t write down. Please message me and I’ll add it if you spot your painting here. Whoops!

On a nerdy side-note, my painting was looking rather jaundiced due to having been in storage for a few months prior to the show. The linseed oil in the painting yellows in darkness, but soon clears again after a few days under natural light. No-one else but me would have noticed this, but it really bothered me. It didn’t look right. Oh well!






Peter Brown NEAC


Teri Anne Scoble










Recent Trips

I haven’t done a blog post in a while, but I’ve been painting loads. It’s been a grim 2-3 weeks actually hasn’t it? Cold and wet, a real bummer. It’s only the last couple of days that’s seen some serious sun and *gasp* heat!

I’ve been going to London to attempt some *another gasp* BIGGER paintings. I have stuck to 10 x 8″ and 12 x 10″ for the last 3 years as it’s a size that I know I can get done in a single session without too much bother. If I’m honest, I’ve been really intimidated by scale as I thought that there was no way I could get the look I wanted by doing a painting over multiple sessions. When I paint I’m really into trying to capture a scene as it is, rather than represent a passage of time. This invariably means painting something quickly in one go, “alla prima.”

I thought I’d try 17 x 14″ as that seemed a big enough leap, so had to make a new wet carrier to hold the new larger boards. I went 17 x 14″ because that meant I could also slide in 14 x 12″ boards also. CLEVER, CLEVER! Here’s a pic of the l’il beauty. It holds 8 boards.


I took the new wet carrier to London along with an Umbrella as I knew rain was forecast. I wasn’t disappointed, getting hit by an absolute deluge on Regent Street. My umbrella got pulled inside out 3 times by the wind too. Great! Here’s the painting.

Regent Street in rain, March

I thought I’d being doing multiple session at this new larger scale, but that doesn’t seem to be the case so far. Both 17 x 14″s I’ve done were single session. Here’s another, looking down Whitehall.

Whitehall, Early Afternoon, April


I’ve also been to Bath recently and did a couple of smaller ones in overcast light. I do like painting on flat light days, you can really go for that accurate local colour.

Yesterday was Bank Holiday Monday and turned out to be utterly spectacular weather. I got up at 6am (that’s ridiculously early, for me) and headed down to Beer for the day. I had a cold, was sweating and painted in the sun for 8 hours straight. Phew. I have a show coming up at Hybrid gallery in Devon so have been taking a few trips to the area to get a body of work together for the exhibition (2-30 May)

Beer really is lovely. Look at this.



I had a lot of fun painting the “Bank Holiday Brits” on the beach in the afternoon, so many bright colours to pick out.


Traffic on the way home was awful, but I knew it would be. I just accepted it and listened to some audio books. I got 4 paintings done that day, so it was a great success.

Here’s to more sun!


Studio Show

I had my home studio this weekend which was a great success. Here’s some pics I took on Saturday morning showing all the work. Many thanks to all those that came and a special thanks to the buyers. I have no career without you!