The worst part of finishing a commissioned work is waiting to hear what the collector thinks of it. When I deliver a study, I always provide an overview of how and why I created it in the way that I did. But I have learnt that the best thing I can do is make myself scarce. The purchase of an artwork is an intensely personal thing but it's even more so when the work is commissioned because the collector feels instrumental in its creation. Inevitably, they have a picture of what they were expecting in their head. If my work doesn't match it – and it hardly ever will – they need to time to absorb the differences, to become acquainted, as it were, with what has come out of my head. It can sometimes (thankfully, not often) be difficult.
This morning, I finished the final study for The Gambler ('All In'), the last of the paintings commissioned in my two-year series of Dangerous Career Babes. Although outlining has already begun on the full-size frame in the studio, I'm now on tenterhooks to hear how the collector reacts to its intense red and shimmering patches of gold on a stark field of high-gloss, flawless white.