Dispatches from the Field

For years now, Ed Saye has been painting something that felt like prophecy. And suddenly, we’re standing in it.

A number of new works have arrived on the site this week, each carrying a very distinct sense of presence.

We’re building a new chapter for New Blood Art – creating space, support, and visibility for emerging artists.
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Bret Easton Ellis once said his advice to young artists was simple: marry someone rich. The line lands because, well, it’s true. Making art depends less on talent than on time, and having time often relies on having money. The structure for artists who don’t already have support is thin.

Artists turn dead edges into cultural edges, raising identity, safety and prices – and then get priced out, taking the real cultural value with them.

A dream opened like an initiation: a force moving through my hands, then a room answering with impossible demonstrations and tasks. I walked out of that logic, took a wrong turn, and found the right field – a place of makers, where creation itself shaped the way forward.

Had a coffee on the beach this morning. Watched two people out on the water, holding small untethered sails.

At first it looked like they’d brought the wrong equipment. Like someone stepping into the sea with an umbrella..

And then the magic. Got me thinking about artists.

An exploration of art’s true economy – how coherence, courage, and beauty move through the studio as forms of value.

Visiting Dreamfield: land whales the size of a hypermarché, double rainbows, and images that shimmer then slip away in liminal space. A meditation on imagination, transformation, and creative practice.

A gentle reckoning with wabi and material presence, alongside works by Andrew Szczech.