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I used to write these careful captions about cyanotype chemistry, the UV exposure times, the pH of the seawater I develop in. Thought people needed to understand the craft to appreciate the print. Then I posted a photo of a print that went completely wrong, overexposed, paper curled, the blue almost black, the seaweed I'd placed shifting mid-exposure so the whole thing was a ghost. I wrote "The sun moved and so did I. This one belongs to the Atlantic now." It got more engagement than any of my tidy process posts. People commented about their own ruined things, the work they'd abandoned, the projects that fell apart. A gallery owner in Amsterdam messaged me asking if I had more "failures" available. I don't think people want to understand how it's made. I think they want to feel that they're allowed to make mistakes too. So now I show the ones that didn't work, alongside the ones that did. The studio floor after a bad week. The prints I fished out of the tide at the wrong moment. The work sells the same. But the conversations are different.

had this piece sitting in my studio for months. a collage i made out of my brother's old road maps and a bunch of receipts from that year everything fell apart. i kept thinking it was a mess, too personal, no composition, just stuff glued down with no distance. almost threw it out twice. took it to a small open studio thing last weekend more to get it out of my sight than anything. put a low price on it so if nobody bought it i wouldn't care. a woman bought it and then emailed me later saying she'd lost her sister two years ago and the piece made her feel less alone in it. she said the receipts looked like proof that someone had actually lived a life, not just a name on a stone. i sat on my kitchen floor and cried for like ten minutes. not sad crying. just. something broke open that i didn't know was still sealed.

A gallery in Barcelona wants to do a small solo show in October, my work, but also some documentation of process, which is fair, the whole thing is basically tidepool alchemy. They asked for my notes on the seawater development, dilution ratios, exposure times, how I account for different salinity levels. And I sat down to write it and realised I have none. I just know. I've been doing this so long I can feel it, the weight of the paper, the way the light sits, the smell of the water. I never standardised any of it because every print is a different day, different sun, different batch of Atlantic. I told them I'd put something together and now I'm staring at a blank page trying to remember how to explain something I only understand with my hands. I think this is the gap between making work and showing it. The making is private and intuitive and full of failure and small victories nobody sees. The showing asks you to translate all of that into something legible. I don't know how to do that without flattening it.

The first real gallery that ever said yes to me, I was maybe 30, living on soup, so excited I nearly shook, turned out to be a complete disaster. Didn't pay, lost work, the whole thing collapsed in six months. The rejection I got two years before that, from a proper serious space? Best thing that happened to me. Made me work harder, think clearer, and when I finally got in somewhere right I was ready for it. Anyone else got a rejection they're secretly grateful for? Or am I romanticising failure like an old man.

I had a show last November. Sixteen paintings, two months of work, the usual opening-night crowd, wine, awkward conversations, people stepping close to a canvas and then stepping back. Zero sales that night. Not one red dot. I stood by the door and watched people leave and thought, well, that's that. Next morning I had three emails. A critic from a local paper, a blogger I'd never heard of, and someone from a small museum in Chemnitz. All of them had been there. All of them wrote something. The museum person asked for a studio visit. The sales came later, slowly, over months, to people who'd read those pieces and then come to the gallery on a quiet Tuesday afternoon. I'm not saying openings are useless. But the thing I thought was a failure, the empty ledger from that night, turned out to be the most valuable part. The people who write are never the people who buy on the spot. They're the ones who need to sit with it, go home, think, and then tell someone else. I still hate the feeling of an opening where nothing moves. But I've stopped reading it as a signal.

so my abuela sends me this photo out of nowhere today. just a pot i made like four months ago, one of those early ones where the rim dips too much on one side and the glaze crawled in a weird spot near the bottom. i almost didn't sell it bc i thought it was a failure, ended up giving it to her. and she's got it on her little shelf by the window, with a dried lavender bunch inside, and the light is hitting it just right so you can see the texture i was fighting with. she wrote "mi nieto el artista" underneath. joder. i sat on the studio floor for a minute. you know when something small just hits you right in the chest? i forget why i do this sometimes, between the cracked pieces and the kiln disasters and wondering if i should just get a normal job. then she sends me that.

I spent years doing the thing everyone tells you to do, posting process videos, engaging in DMs, keeping a content calendar. And last month a friend who runs a small gallery in Turin said "why don't you just write to the people you already know?" So I wrote a very plain email. No newsletter platform, no template. Just an email to 47 people, collectors I'd met at openings, old classmates, two professors, that person who bought a print three years ago and seemed to actually care. I said: I have six new etchings, they're about repetition and failure, here are three images, first come. I sold five prints in two days. Five prints to people I already knew. I spent maybe an hour on the email. I had spent three months on Instagram for the same result, maybe less. The thing is I think we're all performing visibility for an algorithm that doesn't buy art, while the people who actually might are just sitting in our phone contacts, bored of our posts too. I'm not saying burn the platform down. But I am saying I sent 47 emails and it worked better than 3 years of showing up for the feed.

I spent three weeks on a 30cm still life of a split melon last month. Three weeks. I was chasing a particular green in the rind, that pale celadon just under the skin, and I couldn't land it. Every session I'd scrape it back and try again. My husband started giving me that look like maybe I needed a walk. Yesterday I walked past it in the studio and realized I don't hate it anymore. It's not perfect. The green still isn't what I was after. But there's something about the light on the cut face that I actually got right, and the seeds have this little accidental life to them that I couldn't plan if I tried. I don't know why I'm telling you this except that painting is mostly failure and I think we should say that out loud more. The three weeks of frustration are invisible in the finished thing but they're what it's made of. And that's fine. That's the work.

okay so there's this window in my apartment that gets this specific soft afternoon light around 3pm and I've been trying to catch it for like... months now. This month alone I've done 14 studies of it. 14. Same window, same view of the neighbor's slightly sad little balcony, different light every time. My partner thinks I've lost it. Maybe I have. But here's the thing – every single time I think I've figured out how to paint that quality of light, the next day it's different and I realize I was wrong. The color temperature shifts, or there's a haze, or the whole thing goes golden for like twenty minutes before it's gone. Watercolor is SO unforgiving about this because you can't just paint over it, you have to get it right while it's wet or you lose it forever. And I keep losing it. My mom called yesterday and asked if I'd sold any of them yet and I was like Mom I can't sell them they're all failures. She didn't get it. But I think there's something in the repetition, you know? Like each one teaches me something the last one couldn't. I'm not chasing a perfect painting, I'm chasing understanding how light actually works. Anyway I laid them all out on the floor last night to compare and honestly it's kind of beautiful seeing them together even if none of them are The One. Might keep going until I run out of paper or winter comes and the light changes completely. Then I guess I'll start over.

so I threw this tiny porcelain cup a few days ago, really thin walls, nice shape, felt good on the wheel. opened the kiln this morning and it's completely warped, not just a little oval, I mean it's leaning like a drunk person at 3am. the rim is basically a sine wave. at first I was annoyed because I was trying to be delicate and precise and it just laughed at me. but now I've been staring at it for like twenty minutes and honestly? it's kind of alive? it's doing something my perfectly straight cups never do. I'm trying to decide if I should lean into it and glaze it weird or just crush it and try again. my instinct says crush it but my gut says wait. the kiln chooses lol. anyone ever kept a "failure" that ended up being the thing people liked most?

It's not even a good corner. There's a radiator, an old chair my daughter doesn't want anymore, a window that faces a wall of the building next door so the light is always indirect and grey. I've done maybe thirty small studies of it, different seasons, different times of day. Nobody would ever hang them. They're not for anything. I think I just need a subject I don't have to perform for. Something that asks nothing of me. When you spend all day trying to make something worthy of being looked at, you start to crave the opposite, a corner of the world you can paint badly and it doesn't matter. My husband thinks I'm avoiding the commission I'm supposed to start. Maybe. But I also think there's something real in these little failures. A kind of intimacy.

So I did a little market in this old garage space in El Cabanyal last weekend. Thought it'd be quiet, maybe sell a few small pieces, cover the table fee. I brought a box of seconds, things with cracks, glaze drips, a little jug that leaned so far it looked drunk. I almost didn't unpack them. Put them at the edge of the table for 10€ each, basically clay cost. They went first. People loved them more than the "good" pieces. One woman said the crack in a little cup looked like a lightning bolt and she wanted to drink her morning coffee from it. I had to stop myself from explaining it was a kiln failure. Meanwhile on Etsy I'm fighting the algorithm, paying for ads, packing things in bubble wrap like a warehouse robot. And I made more in four hours sitting in a chair drinking terrible coffee from a thermos, telling people yes that cup is supposed to look like that. I'm not saying markets are the answer for everyone. But I'm starting to think the friction of selling online is getting ridiculous for small makers. You spend more time managing the store than making the thing. At the market you just... show up. Talk to people. Hand them a wonky cup and they love it. Maybe the real hack is just lowering your standards and letting people see the ugly ones lol

I had a small show at a gallery a few years ago, nice space, good light, they seemed to really believe in the work. And then five weeks passed, not one thing moved. Not even a small print. They didn't promote it, I think, not really. Just put it on the wall and waited. I still wonder if that was on me, my work, my prices, my failure to bring people, or if some galleries just hang things and hope without doing the actual work of selling. Maybe both. Has a gallery ever taken your work and then just... nothing happened? Did you stay with them, or did you leave?

I made a cyanotype yesterday of a cuttlebone I found on the beach, one of those big ones, almost the length of my hand. Laid it directly on the paper with some torn fishing net over it. Exposure was good, the sun was strong, but when I washed it the shadows all went muddy. The cuttlebone reads as a dark blob instead of having that honeycomb texture it has on the surface. I think I underwatered my chemistry. Or maybe the paper was too dry when I coated it. I've been using a cotton rag paper I'm not as familiar with and it seems to drink the emulsion differently. I've been staring at it for an hour. Part of me wants to call it a bad print and toss it. Part of me thinks there's something in the flatness, like the sea at dusk, all that detail pulled under. But I don't know if I'm just making peace with a mistake. How do you tell the difference between a flaw that works and one that's just a failure?

There's a cardboard box under my worktable. It's got failed joints, pieces that warped wrong, a glass bottle I spent three days cutting that finally just shattered. Also a few things that worked fine but I hated anyway. Before I start anything new I pull it out and go through it. Not for inspiration. More like a reminder that most of what you make is going to end up wrong or abandoned or just okay. Clears the head somehow. I don't try again with the same stuff, I just touch the failures and then I'm ready to make new ones.

There's this portrait I did maybe four months ago, a woman in profile, soft grey paper, pink and ochre pastel. The jaw is wrong, the ear sits too high, I gave up halfway and just let it sit there unfinished. I should have thrown it away so many times but I pinned it up instead, right where I see it first when I sit down to work. At first it just made me angry. Like, look at this, you can't even get a jaw right. But somewhere along the way it turned into a kind of permission slip. If I can start the day seeing that thing and still pick up a pastel anyway, then nothing else I do that day can be that bad. It's like a baseline for failure that makes everything else feel less scary. My partner thinks it's morbid. Maybe it is. But I've done more work in these last few months than in the whole year before, and I think the ugly little pin-up is part of it. Does anyone else keep something broken around to remind yourself it's fine to fail?