Sensing, seeing and painting the intangible part 3

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

Unlike the shelter of a studio -where the light is steady, the wind absent, and the kettle within reach - there is no such control outdoors. Instead, it offers participation: you don’t simply observe

I like to think of painting outdoors as an act of surrender, of yielding to light, weather, and fleeting impressions. My work back in the studio then feels like its echo. As if I am leaning in to what

Years ago, my eyes were opened to the economy and power of watercolour when I saw ‘View from Monte Mario of the River Tiber’ by Claude Lorrain in the British Museum. You can still relive the energy an

Sandra Busby classes herself as a painter of ‘playful light in glass and still-life'. She finds the majority of her inspiration within the distortions of light on reflective surfaces and much of the o

Sandra Busby classes herself as a painter of ‘playful light in glass and still-life'. She finds the majority of her inspiration within the distortions of light on reflective surfaces and much of the o