I'm Tony West. This is where my studio work lives — large-format acrylic seascapes, reduction linocuts pulled by hand, silverpoint drawings, and the occasional caricature. Originals only, made between the UK and Isan, Thailand.
Large-format coastal paintings built in layers — chasing the exact moment the light sits on the water off the Thai coast.
Hand-carved relief prints cut in editions. Every colour removes the last — the block can't be uncut, so each pass is a decision that stays.
Silver wire drawn across a prepared ground. No eraser, no correction — a Renaissance technique that rewards a steady hand.
Quick, expressive likenesses that go looking for character rather than symmetry.
This studio started as a stopgap. My wife and I moved down to an Isan village while our proper house was being built on the land we'd bought — which was meant to take a matter of months.
The builders kept adding things nobody asked for, so we let them go, and what was supposed to be a short rental turned into us throwing up a temporary house ourselves. We ended up raising our family in it.
That house is still standing, and it's becoming a small gallery and studio — mostly built for people to find online rather than walk into, tucked away as it is. It's a strange, honest place to make and show work: not designed to be a gallery, but lived in long enough that it's earned the job.
Acrylic on canvas
Reduction linocut
Reduction linocut
Silverpoint on prepared ground
Acrylic on canvas
Ink on paper
A short line on their practice — what they make, where they're based, and why it sits well alongside the work here.
Visit their shop →Featured here by invitation. Enquiries and purchases for guest work go through the artist directly — follow the link to their own site or shop.
I'm always open to featuring work I rate. There's no fee to be listed — I only take a small commission on sales that come through this site, nothing on work sold elsewhere. Send a link to your portfolio or shop and a line about what you make.
A memoir on what it actually costs to make the work you're meant to make, and to keep making it.
On dazzle camouflage and Vorticism in the First World War — how artists were pulled into the business of disguise.
A working guide to metalpoint drawing — grounds, tools, and the discipline of a line you can't erase.
Tell me what you have in mind — a painting, a print, a portrait — and I'll come back with a quote and a rough timeline. No obligation.