Work must be held in a state where it resists being too easily understood

Unfinished Futures: Constable, Turner, and the Ontology of Modern Painting

Art that moves ahead of its time must always appear excessive. What looks like arrogance from the outside is, from within, simply necessity — the confidence required to speak when the language for what you mean does not yet exist.

Can technique shape creative studio practice—and to what degree should it? It is a question that lies at the heart of painting, and one that every generation must ask again

Each painterly decision alters the conversation between material and maker

When colour itself asserts presence, it should be allowed to do so without being tethered to descriptive redundancy

Painting is frequently taught and theorised through two dominant approaches: either as the acquisition of correct skills, framed in technical or imitative terms, or as the development of conceptual positioning, framed within the discourse of contemporary art. Both approaches can prove limiting

In Fracture, Martin Kinnear turns his attention to the limestone country of the Yorkshire Dales

How boundaries between painter, viewer, and material dissolve

Every mark begins in the painter’s decision, yet no decision is pure

To look slowly at a painting is to recognise that it withholds as much as it reveals

Figures exist not as representations but as presences, saturated with sensation

work emerges not from representation alone