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

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

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

A painting built through colour, atmosphere, and a strong sense of horizon. A vivid red sun hangs above a dark blue band, while the land below opens into layers of green, yellow, and orange. The surface feels alive with movement, but the composition remains calm and held together by that quiet line where sky and earth meet.

I was interested in the contrast between stillness and energy here. The red sun gives the painting a fixed point, while the marks, drips, and scraped layers below keep the surface in motion. It has something of a landscape in it, but not in a literal way. What mattered more was the feeling of warmth, openness, and being drawn into colour.

The painting has a raw, worked surface that gives it depth without becoming heavy. It is a piece that shifts as you spend time with it — bright and immediate from a distance, but more nuanced and textured up close.

Presentation: Framed in a black wood float frame, ready to hang, sealed with protective varnish

Auroras Embrace

60 x 60cm (24x 24in), acrylic⁣ on canvas, hand-signed by artist on reverse with certificate of authenticity included. Sides painted black, comes ready to hang.

This piece was inspired by the essence of late-night reminiscences and tales of distant travels. With its vibrant textures and rich hues, the painting becomes a tactile tapestry of experiences. As fingers trace the textured surface, the senses awaken, weaving together the threads of past and present. Join the conversation, where every stroke is a step closer to the heart of cherished memories.

Midnight Crossing

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.

The surface of the painting does a lot of that work. Built through thick, layered passages of pink, violet, blue, and black, it feels dense, worked, and quietly alive. It is not a literal image of place, but something closer to an imprint. A painting shaped by memory, light, and the strange comfo

Anthony Carey

collection: Surface/Inner Weather

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