I painted this not long after spending time in Mexico, where the days were filled with colour, conversation, and a kind of warmth that stayed with me. I did not go looking for the sea, but somehow it found its way into the painting.

Debajo Del Mar (beneath the sea) came together in that stillness afterwards. The turquoise, deep blues, and small flickers of yellow and green carry something of that sense of depth I felt, both around me and inwardly. I wanted the surface to move gently, like something shifting below view, calm but full of presence.

There was a softness in the making of this one. Fewer thoughts, more feeling. Each layer felt slow and rhythmic, a way of holding onto that time through colour, texture, and atmosphere.

Anthony Carey

Debajo Del Mar (Beneath The Sea

Man Makes Plans" bursts with vibrant colors and dynamic energy, echoing the timeless adage of best-laid plans. This captivating abstract painting captures the essence of life's unpredictable journey, where bold splashes of color symbolize the moments of triumph and resilience amidst the chaos.

Man Makes Plans

The Last Drop is a small textured painting built through colour, surface, and restraint. The vivid orange ground gives the work warmth and intensity, while a narrow opening through the centre reveals a tiny pool of blue — a small but striking note that draws the eye and creates a quiet point of tension.

I was interested in letting the surface do most of the work here. The folds, ridges, and interruptions give the painting a tactile presence, while that small glimpse of blue suggests something held beneath, just surfacing, or momentarily exposed.

This is a compact work with strong colour and material depth, ideal for those drawn to abstraction, texture, and paintings that reward close looking.


Framed in a white wood tray frame, ready to hang, sealed with protective varnish
Frame Size: 38 x 38 cm

The Last Drop

Harvest Glow is a small painting led by colour, surface, and warmth. The dense yellow centre holds the eye immediately, while the surrounding cadmium orange frame extends the work outward, making the whole piece feel bright, contained, and quietly radiant. It has the energy of something ripened and held at its fullest point.

I was interested in letting the colour do most of the work here. The thickened surface gives the yellow a tactile presence, so it shifts between light, weight, and texture depending on how closely it is viewed. The painted frame is part of that experience too, turning the piece into something more complete and self-contained.

Overall Size: 38 x 38 cm
Presentation: Framed in a hand-painted artist frame ready to hang, sealed with protective varnish

Harvest Glow

Harvest Ember is built through colour, contrast, and material presence. A rich cadmium orange centre sits within a vivid yellow painted frame, creating a strong visual tension between heat and brightness. The surface is heavily worked, giving the painting a physical depth that feels both immediate and quietly elemental.

I wanted this piece to hold the feeling of warmth concentrated into a smaller space, like an ember still carrying heat after the light has begun to fade. The textured surface keeps the painting active, while the hand-painted frame makes the work feel whole, as though the colour is extending beyond the canvas rather than stopping at its edge.

Overall Size: 38 x 38cm
Presentation: Framed in a hand-painted artist frame ready to hang, sealed with protective varnish

Harvest Ember

Gathered in Passing holds a quiet tension between closeness and distance. Three figures stand together on one side of the painting, while a single figure faces them across an open red space. The scene is spare, but the atmosphere is charged, as though something has just happened, or is about to, and the painting has paused in that moment between encounter and departure.

I wanted the red to do more than sit behind the figures. It needed to carry the emotional weight of the painting — something heated, unresolved, and slightly unsettled. The figures themselves are reduced and fragile, almost dissolving into the surface, which gives them the feeling of memory or presence rather than portrait.

Framed in black wood float frame

Gathered In Passing

Steps in Silence is a small painting about movement held back, or movement made quietly. I was thinking about how much can be carried without speech, and how even a small work can hold a sense of passage, pause, or inward direction.

The scale of the piece asks for a closer kind of looking. Its strength comes through surface, restraint, and the space it leaves around what is shown. I wanted it to feel quiet without becoming empty, and still without feeling fixed. There is a sense of something unfolding, but softly.

Framed in black wood float frame

Steps In Silence

Three Paths Crossing

ilent Witness is a painting of stillness held under pressure. A lone figure stands in an open red space beneath a pale white sun or moon, surrounded by a surface that feels heated, restless, and thick with atmosphere. The composition is spare, but the emotional charge sits in the contrast between the quiet figure and the intensity of the ground around it.

I wanted the painting to feel both exposed and contained. The red does much of the work here, creating a space that feels at once luminous and unsettling, while the solitary figure remains almost suspended within it. There is a sense of watching in the painting, but also of endurance — of standing within something difficult without turning away.

Framed in black wood float frame

Silent Witness

Relic of The Divided Self

he Doctor and The Dinosaur is a bold, playful painting that balances humour with a sense of mystery. Set against a vivid orange ground, the figures feel animated, unstable, and open to interpretation, as if caught somewhere between conversation, performance, and transformation.

I was interested in letting the forms stay loose and suggestive, so that the painting keeps its energy and ambiguity. The strong contrast between the orange surface and the darker shifting lines gives the work a lively, slightly surreal presence.

The Doctor and The Dinosaur

Faith, Hope, Charity (The Daughters of Santa Sofia)
Original Painting | Acrylic and Plaster on Canvas

Faith, Hope, Charity (The Daughters of Santa Sofia) holds three figures in a sparse, open space beneath a deep blue ground. Their pale bodies stand close, but not fully joined, each carrying its own presence while still feeling bound to the others. The painting is simple in structure, but it carries a strong sense of relationship, stillness, and quiet emotional weight.

I was interested in how little was needed to suggest something deeply human here. The three forms feel connected, though not in any fixed or illustrative way. What matters more is the space between them, and the sense that they are sharing something unspoken. The blue above them gives the work depth and silence, while the warmer earth below keeps it grounded.

Faith, Hope and Charity (Daughters of Santa Sophia)

Midnight on Jacaranda Boulevard grew out of a night in Mexico that stayed with me long after I came home. I had been walking through quiet streets beneath jacaranda trees, watching lavender shadows fall across the pavement while pink neon light caught in the petals. I had never seen anything quite like it. The whole city seemed to soften for a moment, as though it had lowered its voice.

I did not paint it straight away. I carried the feeling of it with me first , the colour, the stillness, the sense of being somewhere unfamiliar and yet completely present. When I came back to it in the studio, what mattered was not describing the street itself, but holding onto the atmosphere it left behind.

Midnight on Jacaranda boulevard

Under A Blood Red Sky began as a single canvas, but the longer I sat with it, the more I felt it needed another section beneath it. I added the second canvas not simply to make it larger, but to give the painting more space to carry what was building in it. I was thinking about displacement, forced migration, and the human weight of being pushed from one place into another.

The red sky holds the emotional pressure of the work. It feels heavy with grief, anger, and memory, while the dense blue field below suggests a crowd, a landscape, or a movement of people continuing under that weight. I wanted the painting to remain open enough to hold more than one reading, but it was shaped by thoughts of Gaza, by images of survival and loss, and by the repetition of histories that never seem to fully end.

Under A Blood Red Sky copy

Acrylic and plaster on canvas
60 x 60cm (24 x 24in)

Moonlight Mischief

Acrylic, plaster and silicone on canvas
100 x 100 cm (39.5 x 39.5in)

The Ancestors

The Strangers plays with scale, distance, and the uneasy familiarity of shared space. A lone figure stands beneath a bright full moon, facing a magpie that feels both ordinary and slightly improbable. Framed by leaning buildings and a faint city skyline, the painting holds that strange urban feeling of being surrounded by life and still somehow standing alone within it.

I was interested in the magpie here as a kind of outsider presence. In some cities they feel like strangers themselves, watchful and self-possessed, moving through human spaces without ever quite belonging to them. That tension gave the painting its shape — a meeting, or perhaps just a passing recognition, between two figures occupying the same place but remaining unknowable to one another.

The Strangers

The Last Fisherman holds a quiet sense of distance and uncertainty. A lone figure stands beneath a pale white sun or moon, set against an open blue sky and a wide, softened ground. The painting feels still at first, but there is tension in that stillness, the sense of someone leaving, waiting, or standing at the edge of something unresolved.

I wanted the space to feel sparse but emotionally loaded. The figure can be read in different ways: as someone shaped by solitude, by work, or by the pull of departure. While making it, I kept returning to ideas of migration, disappearing traditions, and the way certain ways of life fade so gradually that their loss is only felt afterwards.

The hessian along the left side became an important part of the painting. Its frayed, weathered surface brings a raw physicality to the work and quietly suggests erosion, labour, and the worn textures of coastal life. This is a painting about absence, place, and the lingering presence of what remains.

The Last Fisherman

Traveling Man is a painting about passage, companionship, and the idea of moving through the world with purpose. Two elongated figures stand side by side against a pale blue ground, their forms worn and textured, as though shaped by distance, time, and experience. The composition is spare, but it carries a strong sense of presence and shared direction.

I was interested in the title as a quiet nod to older ideas of movement and permission — to those rare figures who could travel freely from place to place, carrying knowledge, labour, or identity with them. I did not want the painting to become illustrative, but I wanted that sense of journey to sit beneath it: not only travel through place, but through history, memory, and human connection.

Travelling Man

This captivating painting features a solitary figure seated against a rich, deep red background. The powerful contrast of color and form draws you in, evoking a sense of contemplation, strength, and emotion. Whether it speaks to feelings of resilience, passion, or personal reflection, this piece is sure to leave a lasting impact and become a meaningful addition to your collection.

Acrylic and plaster on canvas
50 x 70cm (20 x 27.5in)

Waiting

Part Of Ourselves

Red Embrace in Yellow Hues of Reflection
Original Painting | Mixed Media on Canvas

Red Embrace in Yellow Hues of Reflection holds a solitary figure within a warm yellow field, standing near a dense red threshold at the edge of the painting. The space feels open, but not easy. The yellow carries warmth and light, while the red brings weight, pressure, and the sense of something waiting just beyond reach.

I was interested in that edge between what is familiar and what feels harder to face. The figure does not move dramatically, but its position within the painting suggests pause, hesitation, and inward reckoning. The scattered earth-like forms across the lower ground add to that feeling, as though the space is carrying traces of memory, ritual, or what has already passed through it.

Red embrace in yellow hues of reflection

With Table for One, I wanted to create a painting that feels both intimate and slightly unsettling. Set within a vivid fluorescent pink space beneath a dark blue sky, it holds a quiet tension between stillness and movement, presence and absence.

The seated figure appears partially absent, with no visible hands or feet, as if slipping in and out of the scene. The table also feels uncertain. With no cutlery laid out and its stance slightly animated, it almost seems to move towards her rather than simply wait. I wanted that ambiguity to remain in the painting, as though something familiar had shifted into a more psychological space.

This painting explores solitude, distance, and the strange emotional charge that can gather around ordinary things.

Table For One

In this work, two small figures stand beneath a vivid pink moon, held within a stark, pared-back landscape of fluorescent pink and deep blue-black. The scene is simple, but the feeling is less certain. It sits somewhere between closeness and distance, companionship and isolation.

I wanted the painting to remain open, almost like a remembered fragment. It suggests encounter, but without explanation. What matters most is the atmosphere of quiet, suspended, and slightly uncanny.

Part of the Silent Suppers series, this painting reflects on presence, distance, and the emotional charge of shared silence.