SECOND COAT
Here, I try to document my painting practice. The work, the thinking, the art world, and the odd detour.
No formula. No manifesto. Just notes.
Why I Don't Use Sketchbooks
I assumed my notebook habit would follow me into the studio. It did not, alas! Aphantasia, painting and the green notebook gathering dust.
Julio Le Parc at Tate Modern
I loved everything about Julio Le Parc at Tate Modern. Light, geometry, distortion, scale: pure visual magic and high-contrast energy from start to finish.
Finally, Auto Amor!
A visit to Auto Amor HQ in Sevenoaks to catch up with founder Tom, connect with fellow artists, and finally see Signal Held hanging outside the studio.
What I Did Not See at BAF
At British Art Fair, I went looking for abstraction and became more interested in the paintings that weren’t quite abstract at all.
Twice to Boston Manor
Two visits to Boston Manor House in one weekend: first for contemporary art, then for an intimate recital of seventeenth-century music.
Three Feet from the Piano
Sitting front row at London's 1901 Arts Club—an intimate look at Victorian salon charm, physical piano performance, and early 20th-century bar details.
Back to Black
Abstract painting Barely Afloat on wood panel featuring a chalky blue-white central mass on a dark charcoal background with fine line work.
Controlled Rage
How by stripping back varnish, sanding, and rebuilding an unresolved painting Gera Dunachie created a new painting
Wet grass as Muse
How 60 days of drought and a sudden morning downpour inspired a rich new colour palette of amber, gold, and wet straw at Gera Dunachie Studio.