Learning to See Differently

You don’t start as an artist by making—you start by learning how to see.

One of the most important shifts in my development came through training, not in technique alone, but in observation. Learning to see relationships—between colour, form, movement, and space—completely changed how I approached painting.

That way of seeing becomes embedded. It doesn’t switch off when you leave the studio. I’m constantly adjusting, reassessing, and responding to what I’m looking at. Painting becomes less about applying something and more about reacting to what’s already there.

This is something collectors often sense without necessarily being able to articulate it. A strong painting carries a sense of intention, even when it appears spontaneous. That’s because it’s built on a trained way of seeing, not random decision-making.

Abstract work can appear effortless, but underneath it is a highly developed visual awareness.

Call to action:
Spend time really looking at a painting—what relationships begin to emerge?