Andrew Read Artist

16/08/2026

16/08/2026

Bedtime? No, it’s beach time. 🌅

I painted ‘Siviri Sunset’ from memories of the many happy summers we spent here as a family.

Seeing the news from Siviri this week — wildfires reaching the town and people having to be evacuated from the beaches by boat — has made me look at this painting differently.

So much of my work is about holding onto memories of people and places, and moments like this are a reminder that the places themselves change too.

I hope Siviri recovers quickly, and that as much as possible of the surrounding landscape and wildlife habitat has been spared.

For now, this is how I remember it. ❤️

LandscapePainting AcrylicPainting ArtAndMemory PaintingMemories ContemporaryPainting

26/07/2026

I clearly don’t have enough space for my own art, so why on earth am I buying a large piece from another artist? Because I love it, that’s why! I was drawn to it amongst all others at the at the Broadway Gallery this year. When I first saw it the label had fallen off and I didn’t know who had done it. Returning another day, I was again compelled by it - and couldn’t stop myself buying it! Do buy art, it fills the soul and of course as the artist it is a real thrill when someone sees something in your work. Unfortunately instagram settings mean I can’t tag her in but this oil painting but it is by Samanta Jaworska. Search her up and follow her, she’s great!

21/07/2026

The obstacles I notice today may be the ones I miss tomorrow.

As my sight has deteriorated, I've started paying attention to obstacles that I may not notice in a few years' time.

A bin left in the middle of the pavement.
Low branches hanging across a path.
A delivery lorry parked on the pavement.

None of these things are a big deal if you can see them. You simply walk around them.

But when you have tunnel vision, or use a cane, they're very different. They're unexpected obstacles. Sometimes you don't know they're there until you've bumped into them. Sometimes walking around them means stepping into the road. Sometimes there isn't an obvious safe route at all.

I know none of this is done deliberately. Refuse collectors are busy. Delivery drivers have difficult jobs. Trees grow.

But it has made me realise how much it is assumed that everyone can see well enough to adapt.
As someone gradually losing my sight, that's quite a sobering thought.

If there's one thing I'd ask, it's simply this: if you're putting something on a pavement—or notice something blocking one—just take a second to think: could someone with little or no sight get past this safely?

Small acts of consideration can make a surprisingly big difference.

08/07/2026

The pause before bravery.

Some memories stay with you for years.

My son was four years old when he climbed to the top of the tunnel slide near Hillbrow in Letchworth and stopped.

For a few seconds he stood there, caught between fear and excitement, deciding whether to let go.

That tiny moment became this painting.

A few people have said it reminds them of a James Bond title sequence. I can see why, but for me it’s about something much more personal. It’s about childhood, encouragement, and those fleeting moments that shape us without us even realising.

As my sight changes, much of my work has become about holding on to memories through paint.

The Pause Before Bravery is currently on show at the Letchworth Open until 25 July.

I’d love to know…
What’s a memory of childhood that has stayed with you all these years?

03/07/2026

I’m in the middle of working on a commission, but I decided to take a short detour.

Instead of painting, I’ve been making a colour chart for my limited palette of nine Georgian oil paints (plus white), mixing every colour with every other colour and then testing different amounts of white.

It takes a while, but it’s one of those exercises that really helps you understand what your paints can do. Rather than guessing, you start to build a mental map of the palette.

It’s not about finding the perfect colour. It’s about creating a starting point. Every mix can still be pushed further by adding a third colour or making small adjustments, but having this reference should make future painting much more intuitive.

Once it’s dry, I’ll scan the charts.

If you’d find the scans useful for your own painting, just send me a DM and I’ll happily share them.

I’m Andrew Read, an artist losing my sight and using art to hold onto memory. Even stepping away from a painting like this feels like part of becoming a better painter.

24/06/2026

This morning I’m volunteering at the Broadway Gallery, Letchworth in Letchworth. Checking out my work, and enjoying the air conditioning! 🙂 come down and say hi, I’m here until 1.30pm Wednesday.

23/06/2026

I’ve spent part of today playing with colour mixing.

Nothing dramatic. Just testing different paints, seeing how they behave together, and trying to build a better understanding of the colours available to me.

One thing I’ve found surprisingly useful is a disposable paper palette. Not only does it save cleaning up afterwards, but I can write directly onto it and keep a record of colour combinations that work (and the ones that don’t).

Sometimes progress isn’t finishing a painting. Sometimes it’s simply learning something that will make the next painting better.

If you’re new here, I’m Andrew Read. I’m an artist losing my sight, using art to hold onto memory.

26/05/2026

What a relief! Very welcome rain to cool me down. Hard to do art in this weather.

18/05/2026

Getting ready for a new commission meant finally facing the state of my old brushes.

Some of them were completely stiff with dried oil and acrylic paint.

I tried The Masters Brush Cleaner for the first time and honestly… it’s pretty impressive. I’ve now gone through my entire brush collection with it.

There’s something strangely satisfying about bringing old tools back to life before starting a new painting.

Process note: old oil and acrylic paint, warm water, brush soap, patience.