Down the valley, Ystradgynlais

 Down the valley, Ystradgynlais is a landscape oil painting featuring Ystradgynlais from above. 

109.
Down the valley, Ystradgynlais
6.7 x 8.5 in / 16.9 x 21.5 cm
oil on panel
24th August 2025

Photo at the end of the day with the painting on the easel

Edge of the Woods

Edge of the Woods is a painting particularly dear to me, as it captures an idyllic vision of the Welsh countryside, with trees lining a gently descending slope.

99.
Edge of the woods
6.5 x 9.4 in / 16.4 x 24  cm
oil on panel
11th August 2025

I painted it while it was raining, and I loved the peace and tranquillity of the place. It’s located in Ystradfawr Nature Reserve and depicts the countryside between the woodland and Penrhos.

It was completed in a single painting session.

Sky and land

Sky and Land is a landscape painting created on a portrait-oriented panel.

What drew me in was the striking relationship between the vast, cloudy sky and the land beneath it.

98.
Sky and land
9.8 x 5.1 in / 25 x 13 cm
oil on panel
9th August 2025

This view is from my garden, looking between two rows of Welsh cottages in Ystradgynlais.

Photo of the painting during the painting process.

Sunflowers in the garden

This is sunflower season – not only in open fields, but in my garden too.

Sunflowers in the Garden aims to capture this fleeting natural moment, when the beautiful yellow flowers finally rise and tower towards the sky.

It was painted over two sessions. It rained in between, but I managed to capture the sunny spell that blessed this spot for a few precious minutes.

The second session was completed entirely in the studio.

90.
Sunflowers in the garden
oil on panel
10 x 8 in / 25.4 x 20.3 cm
21st July 2025

The following photos were taken during the early stages of the painting – the initial sketch and the blocking-in phase, where all the colours are roughly placed.

Initial sketch: here I drew the main lines for the composition.

Blocking-in phase: here all the elements are in place.

As I often like to do, I took a photo of the finished painting in black and white to check the tonal values and make adjustments where needed. Below is the final painting viewed in greyscale.

Black and white version: a monochrome view of the painting, showing the tonal structure more clearly.

This painting, like all my others, is available to purchase on my website. 

If you'd like to follow my artistic journey, you can find me on Instagram. 

Tuning with nature

Tuning with nature is a landscape I painted two days ago en plein air at Ystradfawr Nature Reserve, looking towards Clydach.

Using softer and more natural tones, I aimed to capture a moment in time - conveying the energy of the wind and the vibrancy of moving grass and foliage.

I loved painting it and being there, in direct connection with the elements — especially as it rained, too.

89.
Tuning with nature
oil on panel
10 x 8 in / 25.4 x 20.3 cm
14th July 2025

Nature is so powerful — it lifts our spirits every time we truly pay attention.

More details of brushstrokes can be seen in this Instagram post

The picture below was taken at the end of the painting session.

The painting is available and can be fund in the shop of my website.

Stones and trees

Stones and trees is a plein air painting created within the grounds of Saint Cynog’s Church in Ystradgynlais.

It’s a subject I’ve always found fascinating here in the UK, where ancient graveyards steeped in history are part of everyday life.

Centuries-old trees provide generous shade, cooling hot summer days with a display of dappled lights on the ground, leading a peaceful atmosphere to the antique gravestones and meandering paths.

88.
Stones and trees
10 x 8 in / 25.4 x 20.3 cm
oil on board
12th July 2025

In this painting, my inspiration came from the combination of old stones and old trees—elements that, with their age and solidity, maintain their presence in our modern time. I painted it during a heatwave, so this spot, cooler and tranquil, felt especially inviting.

I mainly used small to medium brushes, and below are some details from the painting:

detail - gravestone 

detail - gravestones

detail - trees and foliage

I really enjoyed painting in this location, particularly because, as a churchyard, it remains actively connected to people’s everyday lives.

Photo taken during the painting session

Summer garden

Summer garden is an oil painting completed in two sessions. It features a part of my garden I particularly like.

86.
Summer garden
10 x 8 in / 25.4 x 20.3 cm
oil on board
3rd July 2025

The inspiration came from the summer colours of terracotta pots and the lush green of large nasturtium leaves. Combined with the contrast between the stone in foreground (the steps and the door dog) and the wood in background (the fence), it created the perfect subject for my painting.

Here you can see the first three stages of the painting process:

stage 1

stage 2

stage 3

This time, I also used a palette knife for some areas of the painting, which I enjoyed.

Here are some details:

Brushstrokes

Brushstrokes

Brushstrokes

Brushstrokes

palette knife used in the sky and roofs

I’m quite happy with this painting. I like the summery feeling it captures and the energy of a summer afternoon.

You can purchase it on my website. If you’d like to leave a comment or ask a question, I’ll be more than happy to respond.

Home from the back garden

Home from the back garden is an oil on canvas panel, completed yesterday evening during my second painting session.

85.
Home from the back garden
9.5 x 7.1 in / 24 x 18 cm
oil on canvas panel
19th June 2025

 

The subject was chosen to simplify the multitude of colours, shapes, and textures typically found in a garden and on the exterior of a house. I aimed to capture the scene in the late summer evening, when the sun is preparing to set—making the available time to paint both short and more challenging.

photo taken at the end of the first painting session

photo taken at the end of the second painting session

My objective is to be minimal and essential. I enjoy engaging the viewer—inviting them to actively interact with the painting by identifying elements and details that I have only suggested.

Let me know what you think.

The artist's studio

 When the weather isn’t suitable for painting outdoors, I turn my attention indoors. Here is my interior painting of the artist Graeme Sims at work in his studio, painted on 13th June 2025.

84.
The artist's studio
8 x 10 in / 20.32 x 25.40 cm
oil on board
13th June 2025

I’m really pleased with this painting, as my aim was to construct the image using brushstrokes placed with precision in both position and shape. Simplification and minimalism were my main objectives.

Below are some close-ups of the brushwork:

This painting posed an exciting challenge for me: a figure in a colourful interior illuminated by three sources of light—the window on the right-hand side, the ceiling light, and the green lamp on the desk.

If you are interested to purchase this artwork, it's available in my  online shop.

Ystradfawr nature reserve

Ystradgynlais Nature Reserve is an oil plein air painting, mostly done on the spot yesterday and completed in the studio today.

My main aim is to respond spontaneously to the subject in front of me, while also trying to simplify everything—avoiding minor details and getting to the core of it.

I like it when I can leave the task of assembling the picture to the observer, so that they can see what they want to see when viewing it from a distance. Nothing is detailed; everything is suggested.

83.
Ystradfawr nature reserve
8 x 10 in / 20.32 x 25.40 cm
oil on board
11th June 2025

During the plein air painting session

If you're interested in purchasing this painting, please visit the shop on my website.

Various studies

From 19th May to 10th June, I have been experimenting, studying, and wiping off.

My focus has been on tonal values and simplification through oil studies and pencil sketching. A couple of plein air paintings were done and wiped off because I wasn't confident enough to really see something new in them—and now I wish I hadn't done it. This is part of the learning process.

So, here is a mix of what I've been up to:

On 19th May, I painted this and then, in the studio, I decided to wipe it off.

Between 20th and 21st May, I focused on these four tonal value studies in oil on board:

four tonal value studies in oil on board

study 1

study 2

study 3

(Study 4 is in the first picture above)

Plus this little coloured study of trees and bushes:

From 26th to 30th May, I worked both in the studio and in the garden with sketches and an oil study.

A tonal value study adopting the sight-size technique for the first time
(not a great result, but I was curious to try it)

Tonal value preparatory sketch

During the plein air painting stage

Final version of the oil study

On 2nd June, I did two oil studies of a still life in the garden. The first was from direct observation, and the second was from observing the first study itself. Why? To try to loosen up my brushstrokes and be more spontaneous.

Work in progress with study 1

Study 1

Study 2

On 3rd June, I directed my attention to the Brecon Beacons National Park by looking through my window.

Here are two studies of the same panorama at two different moments of the day.

On 6th June, I did two more oil studies of flowers.

Tulips

Peonies and coffee cup

Finally, on 10th June, I went out for a plein air session and ended up with two paintings of the same subject because I wasn’t convinced by the first one.

This is the first painting, which no longer exists.

The second painting was finished the day after, and you can see it in my next post.