IN THE STUDIO
A deep dive into
my practice

Studio Session 16.04.25

This session felt like a bit of a turning point—things are finally starting to come together. The underpainting and overpainting are beginning to integrate in a way that feels cohesive, and I’m getting that sense that we’re about 80–85% of the way there.

There’s still work to do—some refining, some balancing—but the bones are solid now. The push and pull between layers is starting to settle, and I’m able to make more confident decisions with the composition and colour. It’s always a good feeling when the painting starts to speak back a bit more clearly.

Right now it’s about responding to what’s working, gently nudging the piece toward resolution without overworking it. There’s momentum here, and I’m starting to get a clearer picture of where it wants to land.

Studio Session 12.04.25

In this session, I’m starting to bring the compositional elements back in over the improved grid texture in the underpainting. After a few rounds of refining that base layer, it finally feels ready to carry something more—so I’m beginning to build over it, slowly and deliberately.

I’m using the back of a palette knife to almost rub the paint onto the surface, letting the grid texture catch and break up the marks. It creates a really nice interaction between the two layers—structured underneath, more gestural and expressive over the top. The contrast between the types of marks is starting to add some energy and movement, which I’ll keep building on in future sessions. I

t’s subtle at this stage, but it’s a shift. These first marks are light, exploratory—just feeling out how the composition might land and how the surface responds. It’s a bit of a conversation between what’s already there and what’s emerging.

Studio Session 02.04.25

Back into the underpainting in this session, continuing to rebuild the grid across the surface. On the face of it, it might look like a step backwards—but this is actually a key move to help take the painting where I want it to go. By refining the grid, I’m giving the piece a stronger foundation. It’s about creating rhythm and structure—something reliable that I can work with once I head back into composition and overpainting. Without that base, the next stages can start to feel loose or disconnected. This session is all about patience and trust in the process. The marks I’m making now won’t necessarily be front and centre in the final work, but they’ll shape how everything else sits on top.

Studio Session 30.03.25

In this session, we’re going back to the underpainting—building consistency before moving forward again. The focus was on creating a reliable grid pattern across the surface, which will help when I return to composition and overpainting. By adding this structure now, I’m setting myself up to make more precise marks and effects in the next stages.

The grid is subtle but essential—it lays the foundation for the layers to come, helping to guide the painting’s flow and giving me a stronger sense of direction when I start pushing the composition further. It's all about creating a stable base, so I can layer over it with confidence, knowing the marks I make will feel intentional and cohesive.

Sometimes, it’s necessary to slow down and go back before you can move forward. This step ensures the piece has the right structure before diving into the more fluid parts of the process.

Studio Session 26.03.25

Exciting times in the studio—this session marks the shift into overpainting! After all the layering and building up of the underpainting, we're now starting to see some real contrast between the warm, dark base and the cool, light layers on top. The tension between these two layers is exactly what I was hoping for—there’s a depth to the underpainting that grounds the work, and the overpainting is starting to introduce a whole new energy, lightening and brightening the surface.

I’m focusing on balancing the warmth of the underpainting with the cooler tones I’m introducing on top. There’s something about the contrast that makes the painting feel alive—pushing and pulling between the layers. The lighter areas are starting to create movement, and the darker areas are helping to anchor everything in place. This stage feels like things are finally coming into focus.

It's always thrilling when the overpainting starts to make its mark. You begin to see the piece take on its own character, and the direction feels more clear. But even with this new layer, there's still plenty of adjusting to be done—shifting color, refining edges, and continuing to respond to what the painting needs.

Studio Session 23.03.25

The painting is finally starting—just starting—to shift into the overpainting stage. After all the layering, pushing, and pulling in the underpainting, I’ve made the first tentative marks, and there’s that familiar mix of excitement and uncertainty. This is the moment where the piece begins to reveal where it wants to go.

At this stage, every decision feels weighty. I’m adding without overpowering, letting some of the deeper layers breathe through while introducing new movement and energy on the surface. It’s about feeling my way forward, responding to what’s already there rather than forcing anything. The first few marks set the tone, but nothing is locked in yet—it’s all still shifting, still evolving.

There’s something exhilarating about this point in the process. The structure of the painting is emerging, colours are starting to interact in a new way, and I can sense the direction it might take—even if it’s not fully clear yet. I’m letting intuition guide me, stepping back often to see how the painting reacts to each change.

Tools of the Trade

Every artist has their go-to tools, and in this session, I’m sharing the ones I use regularly to create my work. From the paint itself to squeegees, palette knives, brayers, and more, each tool plays a role in building layers, texture, and movement on the surface. It’s not just about applying paint—it’s about how it’s moved, compressed, and scraped back. Some tools create bold marks, others allow for subtle shifts and soft transitions.

Over time, I’ve found what works for me, but I'm always experimenting, as I never want to be pigeonholed into one style. Repetition is the death of creativity in my humble opinion.

Studio Session 19.03.25

Still working through the underpainting—pushing and pulling between the deepest black and the next layers of colour. Blues, reds, pinks, and purples are starting to come through, but it’s all about finding the right balance, letting the layers interact without losing that depth.

This stage is slow, deliberate. Adding, subtracting, compressing. Some areas get buried, others break through. It’s a constant back and forth, feeling out where the painting wants to go. Nothing is fixed yet—just another step in the evolution of the piece. Watch as the layers shift and settle, and subscribe to follow along as this painting keeps unfolding.

Studio Session 17.03.25

Continuing to build up this piece—layer by layer, pushing the surface, compressing, and letting the texture take shape. This session is all about working with oil and cold wax to create depth, adding weight in some areas while pulling back in others. It’s a slow process of refining, letting each layer inform the next. I did a little bit of preliminary scratching here, just enough to break the surface and see how it feels, but most of the focus is still on building up. There’s always that balance—how much to add, when to compress, and when to leave things alone. This stage is about responding to the painting, letting the history of the layers come through without overworking it. Watch as I push and pull the surface, adjusting as the piece evolves. If you’re interested in texture, layering, and the quiet shifts that happen in the process, this one’s for you.

Studio Session 12.03.25

Back in the studio for another session, continuing to build on the last two. This stage is all about layering and composition—adding, subtracting, and finding the right balance between control and instinct.

I’m working with oil and cold wax, pushing the surface, burying some marks, and letting others shine through. It’s a constant back and forth, letting the painting tell me what it needs. Composition isn’t something I plan too much—it evolves through the process, guided by texture, contrast, and the energy of the piece.

If you’re curious about layering techniques or how composition develops in abstract work, this session gives a real-time look at how I work through those decisions. Watch as the piece shifts, takes shape, and starts to find its own rhythm.

Studio Session 09.03.25

Continuing the evolution of this piece, today’s session is all about deepening the underlayers. Using compression and texturing techniques, I’m pushing the surface further—adding, removing, and rediscovering hidden elements within the paint. This stage is about building complexity, allowing the history of the painting to emerge through layered movement and material. Each mark, each reduction, brings me closer to the foundation that will shape the final piece.

Why I Use Gamblin Cold Wax

Gamblin Cold Wax Medium is an essential part of my artistic process. I use it in all my oil paintings to create the rich textures, depth, and atmospheric layers that define my work. This medium allows me to build up the surface, compress and scrape back, and reveal hidden moments within the painting.

Cold wax not only adds body to oil paint but also speeds up drying time, giving me more control over layering and reduction techniques. Its matte finish enhances the depth of colour, creating a surface that absorbs light rather than reflecting it. The versatility of Gamblin Cold Wax Medium makes it perfect for artists who love experimentation and expressive mark-making.

Studio Session 05.03.25

Step into my studio as I demonstrate compression, a technique that transforms layers of oil and cold wax into rich, textured surfaces. In this session, I explore how pressure reveals unexpected marks, depth, and movement within the work. Through this process, I embrace both control and spontaneity, allowing the materials to dictate their own story.

This video offers a glimpse into my creative practice—where layering, intuition, and the physicality of paint converge.