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Discover and learn from exciting contemporary artists with Arteway.
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When we first messaged Anne Rothenstein, her reply came a few hours later and set the tone straight away. She described herself as “a reluctant Instagram user,”and tries to engage with the app as little as possible. We appreciated the honesty — and it felt true to the paintings too: unguarded, a little mysterious, in no rush to explain themselves.

Rothenstein grew up inside a working artists’ community in the Essex village of Great Bardfield, daughter of the painter and printmaker Michael Rothenstein. For years she tried hard not to become an artist herself — she left Camberwell Art School after a single year, wrote short stories, and then spent the best part of a decade working as an actress. It was having her two children in the early 1980s that brought her back to painting full-time, and she’s shown steadily ever since: a first solo exhibition in 1991, a new show roughly every two to three years, and more recently, Charleston in Sussex and Stephen Friedman Gallery in both London and New York.

She works almost entirely from instinct, with no formal training behind her, often painting straight onto wood panel for the grain and the way it takes a scraping-back that canvas never quite allows. Some of her most personal paintings started as pure accident — she once wiped a smear of white paint across a figure’s face mid-painting and watched it turn, in her mind, into a bride’s veil. The slip led to a run of bride paintings she only later realised she’d made while her own marriage was ending.

Her world holds both registers: landscapes rendered as pure colour and symmetry, trees mirrored in still water, and figures who turn their backs before you can quite read them.

See her next as one of eight artists in Women in Print, a new limited-edition portfolio from Tate and @countereditions, with proceeds going toward Tate’s work. Launching 10 November.

@annerothenstein

Photography of work courtesy the artist, photographed by: Todd-White Art Photography, Mark Blower, Jonathan de Waart

Portrait of the artist, 2022. © Anne Rothenstein. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Rowena Chiu. by @arteway___

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20 hours ago

We had the pleasure of visiting emerging artist Harry Cartwright in his beautiful home studio in Lisbon — vintage magazines spread across the floor, torn street posters stripped back to reveal their layers, spray paints watercolours and acrylics, cut outs and hand saws, and the whole city skyline sitting just outside the window. It’s not hard to see how that process — scraping back, layering up — has worked its way into the paintings themselves.

Cartwright borrows the visual language of cinema and advertising and folds it back into something handmade: acrylic, watercolour, plaster, sand, photographic transfer and found commercial imagery, built up in layers on canvas and paper. The results sit somewhere between a film still and a half-remembered holiday photo — warm, hazy, and soaked in a kind of longing for a place you’ve almost been.

His newest body of work pushes that further still, pulling in spray paint, inkjet ink, pencil, pastel, acetate prints and plaster into single pieces — a looser, more experimental register that feels close to how he actually works: instinctive, a little chaotic in the best way.

Cartwright holds an MA Fine Art with Distinction from City & Guilds of London Art School, and has collaborated with Calvin Klein, Paul Smith and Warner Music Group. Last year, he opened his solo exhibition, Within These Walls, at DAM Lisbon — a show that leaned into the industrial landscape of the city and his own move to Portugal. His work is also on permanent view at Aethos social club here in Lisbon.

Want to see what’s available? Find him at @harrycartwrightart for his full catalogue.

📷 Photography by Rory Rae @roryraephotography by @arteway___

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4 days ago

Last Saturday we were delighted to host Table One - Arteway’s first ever in-person event.

A room full of artists we really admire. We came together over good food and good wine, and the evening was exactly what we hoped it would be.

To our Arteway artists who made the journey from around the UK, who trusted us with their practice and showed up for this, thank you.

And to the lovely new faces, it was such a joy to meet you and share the evening together.

This is just the beginning✨

Table One. London, October 2026.

Thank you @sheaslife for documenting the night 📸 by @arteway___

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8 days ago

Today, Sam Rudd goes live for ninety minutes.

Thursday 8 October, 6pm UK / 1pm ET.

The second half is given over to the hardest question in painting: is it finished?

She’s bringing an almost-finished painting of her own and thinking it through out loud — the questions she asks herself, in the order she asks them. Is anything jarring. Is there enough variety. Is it too busy, or too quiet. Is the colour doing what she wanted.

And then the case nobody teaches: when a painting has become a busy mess and tweaking won’t save it.

“I take a risk with it — almost destroy it. Some of my best pieces have happened this way.”

Plus students from the course sharing their work, and a rapid-fire round on the questions we’ve been asked all summer — starting with the one that comes up more than any other: the brushes. What they are, and where she found them.

Free when you join Loosen the Landscape — and Live Week pricing ends tomorrow. Everyone who joins gets the replay.

Link in bio. by @arteway___

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12 days ago

“How do you make it so loose?”

It’s the question Sam Rudd gets asked more than any other — and most of the people asking it can already paint. Many have painted for decades. The difficulty isn’t skill.

It’s that they start loose, tighten as they go, and can’t feel the moment it happens. The painting slowly stops being about the place and starts being about the detail. By the time you notice, it’s already tight.

Sam has specific answers to this. Not encouragement — exercises, with rules and limits, the kind of thing you can do tomorrow on paper you don’t care about.

One of them involves your other hand.

She’s walking through all of them live on Thursday 8 October, alongside the harder half of the problem: what to do with a painting that has gone too far. Ninety minutes, with students, free when you join Loosen the Landscape.

Comment LOOSEN for the link. by @arteway___

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15 days ago

From Sam Rudd’s studio, this week.

It’s been a full summer. New work, new places, a new palette she hasn’t painted in before — and a few things happening in her practice she hasn’t talked about publicly yet.

“I like constantly pushing my work with new subjects and colours and ideas, rather than just repeating everything in the same way.”

She’s sharing all of it live on Thursday 8 October: where she’s been, what she’s been making, the galleries, and where her practice is heading next. Ninety minutes with students of Loosen the Landscape.

This week is Live Week. The course is discounted, and the live session is free when you join.

Comment LOOSEN for the details, or the link is in our bio. by @arteway___

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19 days ago

We recently had the pleasure to connect with British painter Richard Cook, who has spent over five decades turning the Cornish coastline into paintings that carry the feeling of a place as much as its likeness.

Working from his studio in Newlyn, Richard’s process begins on foot — sketches made while walking the coast near his home, carried back to the studio and reworked, sometimes for months, until they find their shape.

“My painting comes out of a sort of crisis, really — of not being able to do it,” he told us. “If you can’t do something, and you keep failing at it, you open a magic door in yourself where something else happens, and that’s unique — you can’t premeditate it.”

Trained at St Martin’s School of Art and the Royal College of Art, Richard has exhibited at Tate St Ives, the Royal Academy, and the British Museum, with work held in the collections of Tate, the Arts Council, and Deutsche Bank. He still speaks about where the paintings come from with something like wonder.

“There’s an infinity,” he says. “It’s like looking at the stars at night. But that also exists inside yourself.”
That urgency plays out in his hands. Richard paints with his fingers, his palms, whatever gesture the moment calls for, reaching to catch the hidden current running beneath a piece before it moves past him. He can’t always say how he knows when he’s found it. He just does.

He traces a turning point back to a few words from his teacher, Leon Kossoff: “Can’t you be a bit more primitive?”

“That one spark just set the whole thing off,” Richard remembers. “I became — I suppose ‘savage’ is quite a good word.”

Sixty-five years into painting, he describes the process the same way still — a current running beneath everything he makes, one he has learned to trust completely.

“I think everyone has that,” he says. “That’s in us all.”

Thank you @richardvfcook for sharing your time and wisdom with us.

📷 Photography by Ali Green @alexandrahouse.studio by @arteway___

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21 days ago

“Giving yourself permission to have a studio session that goes nowhere can be the magic thing that lets your work go somewhere.” — Sarana Haeata

So much of finding your voice isn’t about output, it’s about showing up. In Find Your Thread, Sarana teaches a no-pressure studies system: small works with nothing to get right, made just to listen to your instincts instead of overriding them.

It’s also where she takes on the inner critic, that “hungry little beast,” as she calls it — and how to name it and send it on its way.

What she teaches is permission — to make freely, and to trust what’s already yours. Find Your Thread is live now. Link in bio. by @arteway___

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23 days ago

It’s here.

Find Your Thread with Sarana Haeata is now live.

This isn’t a technique course — you already know how to make work. It’s a guided studio retreat for finding the style that’s already yours: reading your archive, quieting the noise, and making the kind of low-pressure studies where your voice finally shows itself.

👉 Access the link in our bio or comment “FIND” below and we’ll send you the link to sign up!
— Arteway by @arteway___

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a month ago

Sarana Haeata has a warning for anyone trying to paint like the artists they admire:
“We can’t ever successfully copy someone else’s voice. It just doesn’t work, it’ll always fall flat.”

Her method runs the other way. Instead of looking outward, she reads her own past work, looking for the patterns she’s been making all along. That’s the heart of Find Your Thread — a studio retreat for finding the voice that’s already in your work. Launching September 14.

👉 Comment “THREAD” below and we’ll send you a free intro guide to Sarana’s process. by @arteway___

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a month ago

A lot of artists spend years chasing a style — studying the painters they admire, trying to close the gap between that work and their own.

Sarana Haeata found another way. Rather than looking outward, she looked back — across everything she’d already made, for the colors she reached for, the subjects she returned to, the marks she made without thinking. That was her thread. It had been there all along.

Something new is coming from her studio, and from ours.

Find Your Thread launches September 14.

👉 Comment “THREAD” and we’ll send you a free preview of Sarana’s process.

Follow @arteway___ and @saranahaeata so you don’t miss it. ✨ by @arteway___

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a month ago

It’s here✨

Layered Movement with Sarana Haeata is now live.

Follow one painting from its first mark to its last — building color and layers the way Sarana does: intuitively, and in conversation with the work rather than in control of it. It’s the closest thing to standing in her studio and watching the decisions get made in real time.

👉 Access the link in our bio or comment “MOVE” below and we’ll send you the link to sign up!
— Arteway by @arteway___

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2 months ago