The Rhythm of Preparing for an Exhibition

Spring has brought a steady, deliberate rhythm into the studio — the kind that builds quietly and then gathers pace as each exhibition approaches. This season has been full, with new contemporary seascape paintings, coastal landscapes, and fresh work preparing to leave the studio for Dorset’s art events.

It begins with the paintings themselves. The final layers settle, the colours deepen, and there’s that moment of knowing a piece is ready for varnish. Varnishing has become a small ritual — sealing the surface, bringing clarity to the blues, and marking the shift from studio work to something ready for collectors and visitors to see. It’s one of those behind‑the‑scenes steps people rarely witness, but it’s essential to presenting original coastal artwork at its best.

Then comes edging and framing. Measuring, sanding, painting edges, fitting frames — all the quiet, practical tasks that prepare a painting for exhibition. These moments feel grounding, almost meditative, and they’re part of what makes each piece feel complete. Whether the work is heading to the Dorset Spring Fair, Art at the Duchess, or Dorset Art Weeks, the preparation is the same: slow, careful, intentional.

Packing follows. Wrapping each painting, protecting corners, layering materials so the work travels safely. The studio shifts as pieces leave the walls, creating space again. There’s always a small ache in that emptiness, but also a sense of movement — the work is going where it needs to go.

This spring, the biggest transition has been preparing for Dorset Art Weeks at Langham Wine Estate, where I’m exhibiting alongside six wonderful Dorset artists.. The space brings together botanical illustration, ceramics, jewellery, willow sculpture, abstract landscapes and contemporary abstract art — a beautiful mix of practices that complement the seascapes and coastal pieces I’m showing.

A selection of my current original paintings, limited edition prints, and framed coastal prints will be on display throughout the event. Seeing them gathered in a space surrounded by vineyards and open sky feels like the right setting for this body of work.

And then comes the emotional shift — from the solitude of painting to the openness of exhibiting. It’s a different kind of presence, sharing work with people who connect with the sea, the Dorset coastline, and the quiet mood of these pieces. It’s vulnerable, exciting, and grounding all at once.

As the studio settles again, there’s a sense of momentum. Spring has been full, steady, and quietly transformative — and the work is already leaning toward what comes next.

Warmly,

Magda