Sunrise. Oil on canvas, 900 x 600 mm, June 2020

Oil on canvas, 900 x 600 mm
June 2020

Titanium White,
Chrome Yellow, Cadmium Yellow, Indian Yellow,
Yellow Ochre, Raw Sienna, Burnt Sienna, Raw Umber,
Indigo, Alizarin Crimson.

My Little Red Rooster

My Little Red Rooster. Oil on canvas, 16 x 22 inches, June 2020

My Little Red Rooster
Oil on canvas, 16 x 22 inches
June 2020

A rewarding little quickie.

Indanthrene Blue, Alizarin Crimson, Burnt Siena, Yellow Ochre, Gold, Indian Yellow, Chrome Yellow.

Photographed while still wet, hence the shine.

Fata Morgana

Fata Morgana (Gold Diggers). Oil on canvas, 910 x 610 mm. June 2020

Fata Morgana is Italian for a mirage, a complex optical phenomenon that is said to mislead desert travellers and seafarers alike. As a matter of fact rather than folklore and fairy tale, a Fata Morgana is most commonly seen in polar regions, according to Wikipedia.

This particular one mislead nobody but afforded me a pleasant Sunday doodling with a paintbrush.

Fata Morgana (Gold Diggers)
Oil on canvas, 910 x 610 mm, June 2020

Artist In Residence

Artist in Residence (Manor House). Digital, May 2020

Here’s a quick digital doodle. It’s a beginner’s exercise in Krita, a most excellent digital painting program, and a welcome vehicle to show off and enjoy some wonderful Art Deco or Art Deco-esque typefaces.

This leads to the most wonderful architectural drawings from House Planning by Wooster Bard Field, Architect, A.I.A., Professor of Engineering Drawing, The Ohio State University, McGraw-Book Company Incorporated, New York & London, 1940. These guys have a few page samples from the book, worth a look:

Otherwise nothing special here, but learned quite a bit about image retouching and general operations in Krita.

Zehn Mark

Zehn Mark (1963-1990), Special Coronavirus edition. Ink on paper, 240 x 100 mm, April 2020

I thought the El-Dinero series was done with, but two is poor number of legs to stand upon as any vertically challenged or drunk person will confirm.

So here is number three, the German Tenner in the 1963-1990 edition, depicting a portrait of a Beardless Young Man by German Renaissance painter Lucas Cranach the Elder, formerly attributed to his contemporary Albrecht Dürer.

Zehn Mark
Ink on paper, 240 x 100 mm
April 2020

Cinquante Francs

The rather beautiful 50 Francs banknote from 1947 has also received a recent update.

Cinquante Francs (1947, 2020)
Ink on paper, 208 x 128 mm

The original banknote shows astronomer and mathematician Urbain Le Verrier, who now embarks on another carrier path.

Ten Quid

Ink on paper, 130 x 70 mm, April 2020

There is nothing like staying at home for real comfort – Jane Austen.

Ink on paper, digital post-processing.
April 2020

Fresh Off The Boat

Fresh Off The Boat (Parallel Universe Series), oil on canvas 800×300 mm, April 2020

Fresh Off The Boat
(Parallel Universe Series)

Oil on canvas, 800×300 mm
April 2020

In fond memory of The Mooring, Rarotonga and with certain liberties with the specifics of Mahi Mahi.

It pleases me that the photo cannot possibly capture this little piece, which reacts with light and your viewing angle in ways that I can’t capture in a still shot.


Meet Esmeralda.
Oil on canvas, 20×16″
April 2020

She isn’t a masterpiece by any stretch of imagination, but she’s the first oil painting that I manage to bring to completion (by some stretch of imagination) in a very long time. As such, I consider her a huge success and hope that she won’t be a one-day wonder.

Darling Residence


Darling Residence, Kensington Gardens London W2

pencil and marker pen on paper,
November 8, 2019

I love the typical lose sketchy style of garden design drawings. A nice little thing to relax to, I think there might be more of these a-coming.

The Light Fandango

After watching a BBC edutainment piece about the Arts and Crafts movement in Britain around 1900, I was inspired to these two pieces.

The Light Fandango (Week 04/2019) was inspired by the most beautiful magazine covers of the time, The Light Fandango (Wanted) just happened thereafter.

The Light Fandango.
Two pieces, ink on paper, February 2019




Oil on canvas, 760 x 500 mm (30 x 20″), October 2018

There is no reason behind the choice of name except for the fact that Paul seemed a perfectly suitable name for a magic seahorse.