Paper is half the painting. I work almost exclusively on 100% cotton rag, 300gsm or heavier, because it holds repeated washes without buckling and keeps colours clean.

Texture matters too. A cold-press surface gives that gentle granulation in skies and water; hot-press is smoother for crisp architectural lines. I choose based on the subject, not habit.

Every original ships flat and protected, ready to frame — because the surface that made the painting possible deserves to be cared for.