In I’r Môr, I paint the moment where land loosens its hold and water draws everything outward. This view of Hunmanby Gap becomes an inlet of passage—waves driving through a narrowing channel that feels as though it opens into the greater oceans beyond. The sun is low, its final light dissolving into the surface of the sea, and the tide carries both force and invitation.

I worked instinctively with raw natural pigments, gesso and oil, allowing the materials to echo the physicality of the place. Dense passages and scraped surfaces suggest rock, undertow and weather, while lighter veils of pigment hold the fading light at the horizon. The painting moves between weight and release: waves collide and break, yet the eye is continually pulled outward, toward distance, depth and the unknown.

This work is less a literal seascape than an emotional threshold—about movement, surrender, and the quiet pull of the sea as a place of leaving and becoming.

Oil paint, raw pigment, mixed media and gesso on board Unframed: 163 cm (w) × 77 cm (h) Framed: 180 cm (w) × 94 cm (h)