Before beginning, in the morning I read whilst sipping my tea (normally with the cat purring on my lap), then I’ll do a workout before heading to the studio. I find that my artistic life is very much like that of an entrepreneur: admin and tech tasks take a lot of time – the to-do list is endless! I rely on lists to stay on track and try to limit screen time to keep energy for painting. Usually, my painting begins in the late afternoon, that’s when I have the most creative energy. I could easily paint later into the evening, but I always go home for family time.

I begin a painting one of two ways: either I draw the subject first, then paint it; or I start with an abstract background and then look for the subject within it. I enjoy both approaches for different reasons. In the first, I have a clear idea; in the second, I dive in blindly.I choose my subject based on what inspires me in the moment. Sometimes I want to work with a gaze, so I paint a horse’s head. Other times I’m drawn to energy and movement, and it becomes a full body.

Once the drawing is done, I move to painting. I choose my colors by instinct too. I go through phases – sometimes earthy tones, sometimes all blues, or a mix. It could be warm or cool blues, or both. I work in glazes with acrylics, sometimes ink, layering with a palette knife, wedge or regular brushes, tools that don’t leave much room for error. I could cover up with white paint, but I don’t like that, the whole piece needs to feel coherent. I build the shadows layer by layer and often return with pencil lines to maintain a drawn, graphic quality.

A painting is finished when I find myself fussing over unnecessary details. That’s the signal, I know I’ve said what I needed to say.

From the start, my outlook has always been that I wanted to portray horses in a modern way. It’s something that truly matters to me and has stayed with me even after 20 years. Before I became a professional, I painted landscapes and almost refused to paint horses, even though I loved them deeply. I thought everything had already been done, that the Old Masters had already captured their beauty, and that I had nothing to add.

Then, during a casual conversation with my partner, I realized that if I wanted to paint horses, I had to do it my way – with a contemporary approach. I needed to contribute something new to this long legacy of equine painting, not just repeat it. That day marked a turning point. Since then, the desire to offer a fresh take has never left me. It’s my guiding thread. I don’t think about it daily because it’s become second nature.

That’s why I’m so drawn to abstraction. My current artistic research is all about integrating this “horse line”, which I want to preserve, into a broader field of exploration.

What is your definition of artistic success?

Looking back, I’m proud, and especially grateful, that I took the leap into the online world. When I started in 2006, I was the first in my circle to sell art online. I began by offering small pieces and sketches on my website. I was amazed that people actually bought them, it gave me the motivation to keep going. Online sales were just starting to become mainstream. Eventually, I offered larger paintings too. It felt like a real alternative to galleries, which seemed less accessible, and it became an amazing window to the world!

I’m also proud of the awards I’ve received. The feeling doesn’t last long because I constantly question my work, doubt is a part of me, but those moments validate what I’m doing. I tell myself, “Okay, I may doubt, but I’m on the right path or at least, on a path.”

This past year has been an emotional rollercoaster! I suppose that’s a pretty accurate metaphor for my life as an artist – it happens quite often. I was in a good creative flow, and as always in those moments, I felt like it would last forever. Then sales started to slow down. I know it’s never consistent, but this time it hit me harder than usual. I started questioning everything. For six months, I was filled with doubt, not even sure if I was still enjoying painting.

It took three key events to clear the fog in my head:
– First, a one-month challenge where I painted one piece every day. No time to overthink, just create, and the joy came back!
– Then, a painting workshop with an abstract artist who really pushed me out of my comfort zone: learning to let go of the fear of “ruining” things.
– Finally, a British TV show I stumbled upon, which reconnected me with my inner child artist – the one who just wanted to play with techniques and explore new ideas.

I also realized I needed more meaning in my work. Abstract art, which had been calling to me, wasn’t meant to replace the horse in my painting, it was there to support it.nNew perspectives have opened, and I fully intend to embrace them… until the next “down” moment comes. One step at a time!

What are the biggest obstacles you’ve faced when improving your arts profession? What’s the one piece of advice that has helped you the most?

My dream is for my paintings to spread across the world, allowing collectors to take home a small piece of my universe. That’s probably why I work in all formats – from small sketches to large canvases over a meter wide. The idea that anyone, regardless of budget, can connect with and own a part of my world means a lot to me.

I’m still quite new to VAA, so I haven’t explored everything yet! But I already really enjoy the masterclasses and the opportunities offered. I especially appreciate that everything is vetted by a serious, trustworthy organization. It’s getting harder these days to know which exhibitions or competitions are legitimate, especially with the explosion of offers online.

Is there anything you would like to say to the artist you were a year ago?