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I can recall that back in junior school when a school play or large project loomed I was usually quite heavily involved in the artistry. It was clear that I had natural ability but it remained undeveloped until much later.
Having an interest in architecture and design it seemed natural that the early part of my career should concentrate on Interior Design. I chose to combine real life experience with formal training. I worked at several companies as Interior Designer/ Architectural Technician designing the décor and furnishing for pubs and clubs for Ansells and Rank Leisure. Later I became involved in the development of the Birmingham International Convention and Birmingham National Exhibition Centre.
Whilst I enjoyed my work I recognised that although there was a creative element involved I still had to work to someone else’s pre-defined scope. In other words, my job lacked the artistic freedom I craved.
Working at Belgravia Picture Framing saw me gain confidence in my own abilities in that I recognised that I had the ability to paint at a similar standard. Although I was slowly building up my collection in private, at that time it was still very much an enjoyable hobby and I had yet to formally showcase my work.
However, with some encouragement from friends and family I approached a local gallery who agreed to exhibit my work. My confidence grew with each piece I sold. Washington Green then expressed an interest and I was asked to paint something specific so they could guage my ability. Fortunately they liked what they saw.
Secret Sunflower and Treasured Tulip together with Stargazer and Poppy were my first published collection. The latter two pieces have been converted to tapestry wall hangings, totes and cushions currently sold in America.
Sometimes my inspiration comes from something tangible and others it’s hard to pinpoint from quite where the idea has arisen. If I were to choose a favourite artist then it would most certainly be Monet but I would not site him as an influence.
Generally colours seem to be my strongest influence. They can range from vivid colours in a sunset which may be used in an abstract or the colour of a much loved pair of shoes which help to form a landscape. The inspiration itself rarely mirrors the final subject.
Maybe because of the constraints that I worked under previously in a more formal setting my later works have a greater freedom and lucidity. When painting a specific subject if it begins to evolve into something more spectacular then I will switch to work with the new theme. The more creative I allow myself to be the more pleasurable I find my work.
It’s a rare exception when I leave the house without my notebook. I use it to jot down colour combinations that appear in nature such as in cloud formations or in the reflection of sunlit buildings. When you take the time to study the range of remarkable colours involved this can be somewhat inspirational.
I don’t categorise myself as an artist of one specific subject or medium. To paint I generally use a combination of fingers, brushes and knives. Depending on the intensity of colour and fluidity required I use either acrylic or oil. Sometimes I’ll accentuate with gold leaf or crackle glaze, whatever it takes to feel satisfied with the result. When it comes to framing, if the subject calls for it, the mount will form part of the art. The Stargazer and Poppy collections are a good example where the finished pieces resemble a stained glass window.
None of my work is ever pre-drawn. Instead paint is built up sometimes slowly and other times frenetically enabling certain areas of the painting to take on a greater intensity.
I’m careful not to overwork any piece. If I’m not happy with it I simply start again. Stepping back and looking at the picture with fresh eyes enables me to appreciate the subtleties of the painting. Surprisingly it’s not always the central subject that builds the picture but the detail surrounding it.
I tend to start work at around 5am if the light is good. This enables me to focus whilst my daughter sleeps. Once she wakes bedlam reigns so we’ll find something to do together. I love being outdoors and we’ll often go for long walks to the park or feed the ducks. My notebook is always close to hand so I’ll stop to fill it with information for later use. I quickly learnt to carry a spare set for my daughter because she likes to sit beside me and make sketches of her own.
Up until last year my studio was a converted spare bedroom in my house. It looked like chaos to everyone else but to me it was my organised hideaway. Now, as my canvases have grown bigger I have started to take over the dining room too. It’s not only the additional space that proves so beneficial but the fact that it opens straight out onto the garden. The smell of Magnolia and Honeysuckle blend with the acrylics and oils creating my own little sanctuary. Fortunately I have an understanding husband who doesn’t mind when he is banished from entering my rooms!
Once my daughter has awoken from her afternoon nap it’s back to family life. Playing, cooking, socialising. Usually I’ll return to my work much later on in the evening.
Sometimes, when I am working on a new piece its difficult to sleep at night because I am visualising the direction I want to take. I’ve learnt that at this point, it’s far better to return to my easel and continue until I’m satisfied that I’ve achieved all I want to.
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