On leaving a canvas unfinished on purpose

Some of the most honest marks happen in the second before you decide a piece is done. A short note on why we've started photographing works mid-process, not just at completion.

What five years of oxidised pigment looks like

A slow-motion study of copper-based pigment shifting colour over five years in open air, photographed at the same angle every spring.

A week of working without a fixed palette

What happens when you limit yourself to whatever paint is already open on the table, no matter how it clashes. Notes from a week-long constraint.

Drawing the same tree in four seasons

A small, ongoing series — same location, same time of day, once a season. The interesting part isn't the tree, it's what changes in the hand doing the drawing.

Why we started photographing the backs of paintings

The front is the argument. The back — stretcher marks, staples, old labels from other studios — is the evidence. A short case for looking at both.

First entry — what this is and isn't

Not a gallery, not a shop, not a portfolio. A running note on process, kept mostly for ourselves and left open for anyone who wanders in.