FAQ

I sell exclusively through my gallery, my website and social media. I no longer exhibit or show my work. I seIl my work in the luxury market. I do not have an agent or gallery representation. I don't need them. That is because 80% of my sales are by referral. If you are interested to find out more please contact me. I would be happy to share my mission. If it's a good fit for the both of us, I can set up an online private room, with an inventory tailored to your budget, style, size of work and much much more. I also schedule exclusive private viewings at my gallery. Please visit the bookings page link in the footer section below. Here is an example of a digital tailor made private room.

I sell the occasional open edition. But most of my prints I sell, are signed limited edition, fine art, archival giclée prints. Each print is professionally made in North Wales, using ultra chrome archival inks on 100% cotton, acid free, heavyweight (300 GSM), fine art paper. They are individually numbered and personally signed by myself. All prints are presented in a precision cut white mount with a backing board and cellophane wrapped. Your print will come with a signed certificate of authenticity that has a holographic tamper proof seal and a unique identification number. * Each edition is limited to a print run of 50. (This means there will only ever be 50 of these made). When they're gone. they're gone. The border is approx 4” (10cm) all around the print. There are two sizes to choose from - A3 and A2.

This policy applies to original works and limited edition prints only. It does not apply to open edition prints and merchandise e.g. cards, mugs, pillows etc. I may consider an EXCHANGE of equal value within 7 days of purchase at my discretion only. This exchange applies to original works. Signed limited edition prints can only be exchanged for another signed limited edition print of equal size and/or value. Costs will be deducted for expenses incurred such as shipping and damage on return. Regarding original paintings, I do offer a 7 day cooling off period for returns. This begins when the item has been recorded as delivered by the shipping company, or delivered/ collected in person. This could be the buyer collecting from my gallery. It could refer to me delivering in person to the buyer. To be considered for a refund, please contact me within 7 days when the item was recorded as delivered. Proof of delivery re: time and date must be established. Include a copy of the invoice and any shipping related documents re: proof of time and day of delivery in the email. I will refund the purchase price of the artwork minus any additional costs such as framing, shipping and delivery charges incurred by me to send to the buyer. The buyer is entirely responsible for paying for the item to be returned which they must do in a timely manner. The buyer is responsible for safely securing and packing the item against damage on return. Further costs will be deducted from the refund if there is any damage to the frame or the item or both, and/or any further additional costs incurred by me personally, such as reframing due to damage. What if the item arrives already damaged? In the unlikely event of this happening, this will have to be taken up with the shipping company's insurance. If the item is damaged upon delivery to the buyer, I would suggest taking photographs of the damage. Contact the shipping company. Please send me images clearly showing any damage. I always take pictures of the condition of the items as they leave the gallery prior to shipping. I ensure each item is secure and well protected from potential damage that maybe caused during transit. As yet, there have been no issues regarding damage in transit. Each item is securely packaged to ensure they arrive in mint condition. The buyer must ensure the work is repacked safely to prevent damage during return transit. The return package must be insured to the correct value and tracking must be selected. I will need time to assess the costs involved. A refund of the purchase price minus costs will be returned to the buyer within 2 to 3 days of receipt of return delivery.

Unfortunately, I am not Amazon. I am a small business. And the cost of the shipping is the responsibility of the customer. I will, however, go the extra mile and make sure your purchase is securely and safely packed for you. Packing is an art in itself and the process can easily take an hour to complete. I can deliver locally within 10 miles of the gallery free of charge. Please give me your 'What 3 Words' location, as there are some extremely remote addresses in the mountains! I can also personally deliver (UK only) and even install for you. This service is for the larger works only. There is a nominal fee to cover time, mileage and wear and tear on my vehicle. However, this may be waived, depending on the cost of the work purchased.

This stands for Certificate of Authenticy. This helps the owner to prove provenance and originality. Each painting, or limited edition print, comes with it's own COA. A unique holographic serial number is attached to the COA. This also corresponds to a matching serial number attached to the artwork. These tamper proof labels say 'void' if removed. Therefore, adding a level of protection against fraud and proof of purchase.

As much as I would love to see my paintings again, I do not not buy back. But let's suppose you would like to sell your investment one day. Maybe you have downsized and it's time to sell. It would make sense to approach me to advertise it to my collector base who already enjoy my work. No one knows my current market prices better than I do. There would be a standard gallery commission fee of 30%.

Chances are, you are here by referral. That's because, 80% of my sales are exclusively referrals! Yes. I love exclusive private views. This can be an actual visit to my gallery or a video conderance where this is not possibe. I can arrage to send you a portfolio of works. I can set up an online private room with an inventory tailored to your budget, style, size of work and much, much more. You can email me a request or make an appointment via the bookings page link in the footer section below.

Joining my Prototype Vision is by invitation only. Book your exclusive and free private consultation now. Appointments can be offline in person or online via video conference. I will share with you my mission. I need five to ten minutes of your time to share this. And if it's a right fit, we can discuss what the next best step is. Nothing would bring me greater pleasure than painting something unique, personal, and totally exclusive to you. There is one golden rule. You are under no obligation to buy. All I ask, is honest feedback, when the painting is ready. Why did you decide to buy? Or, why did you decide not to buy?

I am glad you asked. I live to inspire others and inspire others to live. That's my mission in a nutshell. My mission has nothing to do with my art. My mission is greater than me. I serve my mission. This short video below will help you learn more about my mission.

Absolutely. I would love to share my mission with you in person. You can email me a request or make an appointment on the bookings page via the link in the footer at the bottom of this page.

Yes! I would love to discuss that with you. You can email me a request or make an appointment on the bookings page via the link in the footer at the bottom of this page.

I work mainly with oils. I do use acrylic and resin when I want to shake things up a bit. In the early stages of a painting, I will add liquin medium. This extends the paint coverage and allows me to work at speed and improves glazing and blending techniques. Sometimes I will add a cold wax medium. I also enjoy working with encaustics. Encaustic painting, also known as hot wax painting, involves heating beeswax, to which coloured pigments are added. The liquid or paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used. The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used—some containing other types of waxes, damar resin, linseed oil, or other ingredients. Pure, powdered pigments can be used, though some mixtures use oil paints or other forms of pigment.

These days I work from emotion. After all, art is about emotion when all is said and done. I no loger refer to sketchbooks or photographs. Over the years, I have learned to listen to a painting. I read the painting. I always take time at the beginning of each painting session to simply look and listen. I find, the more I look and listen, the more it will whisper to me what it requires me to do. Painting is an act of submission. And then I begin to paint. Sometimes, I work from a limited palette of only five colours. This helps to maintain colour harmony. Take a look at the Zorn palette. Typically, there are three stages of painting a canvas. Composition and blocking in, modelling, and finally the details. Initially, I paint what is called fat over lean. In the early stages of a painting, the paint is used thinly, with less oil in the mix (therefore it dries faster); as the painting proceeds, the paint applied gets thicker. The fat over lean process prevents the surface of the painting from cracking. When the oil paint is dry, I can paint over the top of it, with a thin transparent film of colour. This is known as glazing. I enjoy blending colours. The buttery consistency of oil paint and cold wax, and the natural blends that occur as brushstrokes mingle, make working into wet paint very satisfying. I will use the brush in various ways, such as stippling and daubing. For some paintings I will paint a process called ala prima, which is the ability to adapt and change a wet painting (wet on wet) and is usually completed in one session. Other paintings take several months to complete. Sometimes I will paint with non-brushes. That could include, but is not limited to a palette knife. I recently painted a 4′ x 4′ painting entirely with my fingers! And I thoroughly enjoyed it! There is a technique I use of scratching into the paint when the call arises. This is technique is referred to as sgraffito. Sometimes I will use a wash, which is a thin layer of opaque paint, laid over dry colours. One of my favourite techniques is to ‘scumble’ a thin, dryish glaze, mixed with a small amount of white oil paint, scrubbed lightly but vigorously, over dried paint with a bristle brush. Sometimes I will use an impasto medium, which adds depth, body and texture to the painting. I loved adding texture as it's visually exciting to look at. That's when I paint with hot or cold wax. And finally, for a complete contrast to texture, I will occasionally paint with resin. Resin has the effect of smoothing out the detail and enhancing the colour by adding depth and contrast.