Here’s one I painted live on Instagram today. I’ve been wanting to try this for a while, so I threw some paint tubes on my table and pointed the phone at my paper. My son helped with the setup because millennials know how to do these things, and voilà, I started painting. Lots of artists are doing live demos during these weeks of isolation, and it’s a great way to connect. I wasn’t sure anyone would watch but sure enough, people kept popping in and saying hello, from all over the place. Alice even made an appearance. Some people asked that I post about live sessions beforehand so they can tune in, but there was something very nice about the spontaneity of the thing. I think setting a schedule could be stress-inducing, and who needs more stress these days. But it was a nice way to keep my hands busy for an hour, and remember that an hour spent painting is an hour you are not trying to remember not to touch your face. Stay well!

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inside looking out

6×6″ original oil painting on 1″ deep panel.
Check out my Instagram Page to see the step by step process for this one. : )

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Collector Favorites: Bestselling Artists of March

Ever wondered what other people are buying for their personal art collections? Though your tastes may differ, seeing what others are purchasing can help you discover new artists whose works you might not otherwise have considered.

Below, meet 5 artists who have proven to be popular favorites with our collectors. For more ideas, browse our recently sold works and contact our curators who can help you find similar works in your budget.

Karenina Fabrizzi 

Karenina Fabrizzi brings her fascination with flora and fauna to the canvas, distilling the decorative qualities of Early Renaissance paintings into minimalist compositions that invite viewers to commune with nature. With their balanced forms and subdued color palettes, Karenina’s works quietly reawaken our primordial connection to the natural world. Now based in Barcelona, Karenina has studied at the School of Visual Arts in New York, and once worked as a painting assistant for Jeff Koons. She has exhibited her work throughout the US, Europe, and East Asia, including at PULSE Miami, Affordable Art Fair New York and Singapore, and the Glasgow Art Fair. See more of Karenina’s work here. 

Eric Stefanski

Eric Stefanski creates irreverent, large-scale paintings that poke fun at the trope of the struggling artist and challenge the ways art history can take itself too seriously. By incorporating found objects and layers of fiberboard into his work, Eric pushes the boundaries of the canvas to create dynamic and unexpected three-dimensional forms. Now based in Chicago, Eric holds an MFA from the School of the Museum of Fine Arts in Boston. Eric has been featured in the Boston Globe and Artscope magazine, and his work is held in private collections throughout the US, Europe, and the Middle East. See more of Eric’s work here. 

Ralph Lazar 

From articles of the US Constitution to the race and gender makeup of the US House of Representatives, Ralph Lazar translates weighty political issues into lively and thought-provoking illustrations. Ralph’s interest in making politics accessible can be traced to his extensive background in law and economics: Born in South Africa, he earned degrees in both law and economics from the University of Cape Town and the London School of Economics before working in finance for six years. He now resides in California, where he and his partner Lisa Swerling co-write and illustrate books as the creative studio Last Lemon, which has sold more than a million of Ralph’s illustrated books in over 20 languages. See more of Ralph’s work here. 

Nina Lance 

As a former fashion designer and professional photographer, Los Angeles-based artist Nina Lance brings her eye for color and structure to her art practice, which spans precise contour drawings and delicate paintings. With sparse color palettes and minimal forms, Nina’s works make an impact with strong line and structure, resulting in compositions that are refreshing in their simplicity and integrity. Nina’s photography has been published in Italian Vogue and The Knot, and her fine art is held in private collections throughout the US and Europe. See more of Nina’s work here.

Vicente Aguado 

Vicente Aguado explores politics, conspiracy theories and consumer culture through an unsparing yet humorous lens of social critique. With a background in drawing and graphic design, Vicente works with recycled materials, mixed media, and printmaking to make cartoonish and confrontational images. Vicente holds an MA in contemporary art and visual culture from the Polytechnic University of Valencia in Spain. Now based in Edinburgh, Scotland, Vicente was one of 30 fine artists included in the 2019 Scottish Portrait Awards exhibition, a national project showcasing exceptional up-and-coming artists. His work is held in private collections across the US, Europe, Australia, and East Asia. See more of Vicente’s work here. 

Love reading about all things art? You can have articles from Canvas, curated collections, and stories about emerging artists delivered straight to your inbox. Sign up for the Saatchi Art Newsletter.

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Sean Winn on Identity and Human Connection

A 2019 Saatchi Art Rising Star and recent graduate of the University of the Arts London, Sean Winn incisively captures the inner worlds of his subjects, most often millennials like himself navigating relationships and mental health in a technologically-driven and often alienating world. Sean bases his dramatic, hyper-realistic paintings on photographs he takes of his subjects in their dark bedrooms illuminated by the otherworldly glow of string lights. The results are visceral portraits in uncanny settings that conflate the intimate and the universal.

1. Tell us about who you are and what you do. What’s your background?

My name is Sean Winn and I’m a 24 year old artist originally from Southern California. I received my Bachelors of Art from at a small university in Sterling, Kansas, with a specialty in graphic design. After university, I spent almost a year working as a graphic designer and retail assistant before moving to London to get my Masters of Fine Art at the University of the Arts, London. Within two years of living in London, I have had a solo exhibition, taken part in several group exhibitions, and five online publications.

2. What does your work aim to say? What are the major themes you pursue in your work?

My art practice has always come from an effort to get to know myself and to be able to have a creative outlet to vent and express my emotions about being a millennial in today’s technologically-driven world. A lot of my work explores identity, mental health, and how we connect with one another in different types of relationships.

For example, in my recent piece “Can’t Sleep Without You,” I wanted to portray the everyday struggles that the model dealt with, especially at night, as someone with post traumatic stress disorder. During our photoshoot for reference photos for the painting, he told me how he doesn’t seek peace at night alone because that’s when his PTSD haunts him. The only thing that he finds comfort in when he’s trying to get sleep is having a significant other with him so that he knows he’s not left alone in the night.

3. Can you walk us through your process for creating a work from beginning to end?

I have a very time-consuming process when it comes to starting a new piece that involves a figure. I often get inspired by my personal friends or people I have come across in social gatherings. I take all my own reference photos at night in any type of bedroom setting (but I mostly prefer the model’s personal bedroom). I love to get to know someone in their most intimate and personal space where they feel like they can talk to me comfortably while I photograph them nude or partially nude. Once I’ve gotten enough photos, I spend the week planning out the painting, messing around in Photoshop with color palettes and different levels of contrast. From there, I either project or draw onto canvas depending on size and then start painting.

4. What series or artistic project are you working on next?

I’ve had a busy year finishing university and exhibiting both here in London and in the U.S. I’m currently taking some time to myself to recuperate, but I plan on continuing my series of work. I do plan on having more variety in the size of my paintings, but I also want to experiment with textiles and installation more for this upcoming year.

5. What memorable responses have you had to your work?

Last year, during the private viewing of my first solo exhibition, I had an elderly woman with her friend come up to me to congratulate me on my show, but the woman who initiated the conversation started crying hysterically and telling me that my work reminded her of her father, who was in love with astronomy. The colors I used in my work struck her as a replica of the galaxy and planets. In that moment, I was of course caught off guard, but I gave the woman a long hug while she was tearing up in my arms and I thanked her from the bottom of my heart. It was in that moment that I wanted to cry because I’ve never considered my work touching people in such a way. It was such an amazing and humbling experience and I will always remember it.

Love reading about all things art? You can have articles from Canvas, curated collections, and stories about emerging artists delivered straight to your inbox. Sign up for the Saatchi Art Newsletter.

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“brush your fangs”

You asked {ok, more realistically, you shouted} and I listened … yes, New Orleans based artist / bedazzled ray of light, Ashley Longshore is back on the podcast today. I turned the interview over to you guys this time, pulling questions you left on my Instagram feed last week. Well, Ashley answered everything from advice on pricing work, and how to collaborate with big brands – to her thoughts on vajacials {which is a real thing, btw}, and who takes those Instagram photos of her sitting on the toilet. Yep. We cover it ALL. My favorite part of this whole interview though, is the answer she gives right off the top. Question number one, sent in by one of you: “What is the first positive thought ashley actively focuses on when anxiety hits hard.” Her answer is beautiful and something every single one of us should be doing every single day… right after we brush our fangs!  You can listen right up there under those diamond-encrusted / golden chompers, or subscribe right here.

First up, true vulnerability in all its glory… Ashley’s brand new, very powerful self portrait series:

Ashley as: Clown; Housewife; Sex Goddess; Businessman; Wonder Woman… yep, that just about covers it. Ahhh, so many expectations from the world, so little time. I couldn’t help but wonder if these pieces were inspired by this recent photo of Ashley on holiday last month:

Yessssssss! How absolutely fabulous is THAT shot!? What a babe. Now, speaking of being unapologetically vulnerable, the two ‘on the toilet’ photos one of you had questions about:

Hilarious! That said, she can get pretty fancy in photos too… you know, while doing things like guest-judging on Bravo’s Project Runway:


View this post on Instagram


A post shared by Ashley Longshore (@ashleylongshoreart) on

Hello, style. I loooove that photo {taken by Grady Brannon} on the staircase with Ashley and her fabulous friend, fashion designer Christian Siriano, so I had to pop it in the post too.

And, of course, the coloring pages she just released a few days ago:

Love, love, love!!! Keep your kids, or yourself, busy by downloading all of them right here {and then email a photo of your final masterpiece to Ashley at: !}

And finally…

YES! Let’s all get up, make our beds, brush our fangs, and throw on our big girl panties so we can get through this crazy time TOGETHER. Thanks to Ashley for doing this with me {again!}, thanks to the Thrive Network for supporting the episode, and huge thanks to YOU for listening! Stay home. Wash your hands. There will be more ART FOR YOUR EAR next weekend. ~ Danielle xo

ps. If you wanna get in on the ‘distracting yourself with art’ daily hashtag, please do! There are now over 8000 posts and it’s really inspiring and fun to be part of. See ya on Instagram at #30DayArtQuarantine

Other links:

  1. Download Ashley’s coloring pages
  2. Food Banks to donate to: USA / Canada
  3. #30DayArtQuarantine on Instagram
  4. Bright Minded with Miley Cyrus {Ashley’s episode is coming soon!}
  5. Email address to use if you want to send Ashley your resume:


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A Kind of Order — from ‘Honest Labour’

Editor’s note: For the next several weeks, we will feature some of our favorite columns from “Honest Labour: The Charles H. Hayward” years, along with some thoughts about why these particular columns hit the mark.

This column from 1960 is so timeless and relatable. There’s the inner nagging we all experience when a workshop or tool chest or pantry or closet has become disorganized, full and unmanageable. And then there’s the quiet scolding we all feel while organizing — “I will never let this happen again.” Next, the sweet satisfaction that accompanies the completed work. (Have you ever, later, stepped into your workshop or opened the closet door just to admire the tidiness?) Then the promises, the resolutions. But seemingly always, life gets in the way, as life does, and the whole cycle repeats itself.

Another reason I love this column? In it, Hayward peels back the gloss and reveals something he struggles with and even discloses some enviousness. For as much as I adore Hayward and his Chips from the Chisel columns, sometimes, especially if I read many in one sitting, I feel, well, exhausted. How could one person be so good at all the things? But here, Hayward recognizes his more human side, allowing him to pass along a lesson with empathy.

Finally, there’s his bit of jealousy. How wonderfully perfect is his discovery that all is not as it seems when comparing his workshed to that of his friend’s? And how often do we all do that, tenfold, now that we have social media showing us only the best of the best of everyone’s lives? For every beautiful piece of furniture shown there was the hidden heartbreaking split. For every organized workspace posted on Instagram you didn’t see what it looked like three days prior. For every smile, you didn’t know about last week’s anguish. And yet, Hayward recognizes the importance of reality — “after that I felt much better” — but also uses the experience to ever-push himself — “although the vision still leads me on, not so much now with a feeling of guilt as of an objective to be attained.”

— Kara Gebhart Uhl

A Kind of Order

We need to achieve a kind of order—that will enable us to keep an eye on things

There are few things more immediately rewarding than having a grand old turn out. It produces a feeling of satisfaction that is positively Jack Hornerish, if it was indeed that nursery-rhyme character who said “What a good boy am I,” at least in anyone like myself who never clears up his workshed until driven to it. When I can find no more space for anything or, more shameful still, when the right size screw of which there should be plenty somewhere simply refuses to come to hand, then I really start in. It is an event more or less annual, usually at this time of the year when home activities are getting well under way again. And never, never does it happen without my passing good resolutions to do this more often in future and, what is more, when dirty, tired but happy I stand back to survey the spick and span result, that at least I will in future keep everything in its place and a place for everything. Alas for good resolutions! Sooner or later one comes up against the time factor; things have to be put away in a hurry, odds and ends accumulate, and the whole business starts all over again.

I can confess this the more openly because for years the standard of tidiness always nagging at the back of my mind was the one glimpsed in the workshed of a friend who had recently moved into a new house. As I stared at the tools neatly ranged in position, garden tools hanging on appropriate nails near the door, carpentry tools in racks above the workbench, I felt awed. For John is an artist as well as a first-rate craftsman, a man whose creative gifts keep him in a state of almost perpetual ferment so that time ceases to have any meaning for him. And yet he could achieve this. What a beauty there was in such order and what a lesson there was in it for me. He beamed when I said as much.

The memory remained with me like a conscience, giving me a dismayed feeling of “What would John think of this!” when my own lot got out of hand. But it was not altogether without fruit. Little by little, after every grand turn out, small improvements began to creep in: there would be an additional shelf, extra hooks, even partitioned trays for those elusive screws and nails and small tools (cheap wooden or plastic cutlery trays, with partitions added as desired, are handy for this when time is lacking, as it usually is over this kind of job), so that at least a certain order began to persist through the bad periods. But how it lagged behind John’s I had ruefully to admit. And then, after an interval of some years I met him again and somehow the subject cropped up. He and his wife stared at one another in blank astonishment. “John’s workshop tidy!” she cried. “Oh it can’t have been his you saw. Why, it’s always in a hopeless mess.” Firmly I recalled the time and circumstances of the vision I had seen and they both burst out laughing. It must, they said, have been the one and only time it had ever been tidy.

After that I felt much better, although the vision still leads me on, not so much now with a feeling of guilt as of an objective to be attained. Common sense says that order in one’s work surroundings is an excellent thing, time saving and making for efficiency, in its own way carrying with it an inspiration to good work. Hard fact says that in an imperfect world where time is short and the demands on it fairly heavy, it is not always possible to do things the perfect way and, as always, we have to compromise. We need to achieve a kind of order, something that will enable us to keep an eye on things in general so that nails and screws are to hand if we want them, tools are kept in good, rust-free condition an oddments of wood protected from woodworm. It is no good storing those small choice pieces over the years if, when the time comes to use them, they are riddled with woodworm, liable to spread the pest all around and fit only to be burned. One of the “mucking out” precautions is a quick lick of wood preservative over any pieces that are likely to be stored for some time, and this is the time of the year when extra vigilance is most certainly desirable. 

Everything will not get done at once, but keeping at it, little by little and bit by bit, we do more or less keep pace. The high-lighted moments when we can look round at the perfect picture as we should like to keep it are few and far between, but how good when they come. And how good that we should have them, rather than let good materials go to ruin and the good tools deteriorate which our old faithfuls and the companions of our hands. 

— Charles Hayward

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As Curricula Move Online, Yale Art Students Demand Tuition Refund

Over one hundred MFA students from the Yale School of Art (SoA) have called for a partial tuition refund following the university’s decision to empty its campus and shift curricula online in order to

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KW Institute for Contemporary Art Expands Its Curatorial Team

The KW Institute for Contemporary Art in Berlin, which is currently closed until at least April 19 due to COVID-19, has added four new members to its curatorial team. Kathrin Bentele and Léon Kruijswijk

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LA MoCA Lays Off All Part-Time Staffers

In anticipation of a lengthy shutdown due to COVID-19, the Museum of Contemporary Art (MoCA), Los Angeles, is laying off all of its part-time staffers. The

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UK and Germany Launch Emergency Funds for the Arts as US Museums Call for Aid

The novel coronavirus that originated in Wuhan, China, in December 2019 and causes the respiratory illness COVID-19 has disrupted the lives of billions of people around the world. As countries employ

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