Nel Whatmore

By The Light Of The Moon I by Nel Whatmore
By The Light Of The Moon II by Nel Whatmore
Remember Me by Nel Whatmore
Cool by Nel Whatmore
Salsa Night by Nel Whatmore
Rock Follies by Nel Whatmore
Summer II (Sunshine II) by Nel Whatmore
Sumptuous Ladies by Nel Whatmore
The Rest Of Me - Bowl (Glassware) by Nel Whatmore
Little Swan by Nel Whatmore
Femme Fatale by Nel Whatmore
Hiawatha by Nel Whatmore
Soul Singer by Nel Whatmore
Orientalis II by Nel Whatmore
Celebrated contemporary fine artist, Nel Whatmore needs no introduction, given the reputation in creative circles that precedes her, and justifiably so. Painter of flowers and landscapes, designer of glassware and other homeware sculptures, textile designer and published poet, there is little in the artistic field that Whatmore hasn’t turned her cultured hand to over the past two decades or more that she’s been practicing and perfecting her eclectic arts.

Once she bagged her foundation course in Art and Design, courtesy of Wolverhampton University, Whatmore added to this higher educational achievement and qualification with the inclusion of a Bachelor of Arts degree, as awarded by the Trinity and All Saints College, Leeds, where she attendedfrom 1982-1985. The very next year Whatmore secured a grant from the ‘Prince’s Youth Business Trust’ awarding body to help set herself up as a bona fida artist, and has since, incidentally, become one of the select few to be chosen to represent the charitable organisation at the annual Chelsea Flower Show, back in 1990.

It was as a mere 10 year old when Whatmore’s prodigious art talent was first spotted by her nearest and dearest, and despite her not necessarily coming from a long line of artists as such (although she alludes to there being a few possible exceptions) what the budding creative did readily inherit was the entrepreneurial attributes that many of her family members are blessed with, alongside skilled hands. All of which stood Whatmore in good stead to take the world of contemporary fine art by storm some decade or so later.

To date, Whatmore has observed her back catalogue of portfolio work showcased near and far for both private and commercial exposure and accumulative commercial gain, overseeing exhibitions staged at, amongst other prestigious venues, the Albert Docks in Liverpool, the Prince’s Youth Business Trust’ shows at the NEC in Birmingham, and perhaps most significantly of all, the Chelsea Flower Show as mentioned earlier. Furthermore, Whatmore has delivered her own one-woman show for over 12 years of late, after initially exploring the idea and possibility of hosting such an event with Birmingham’s Halcyon Gallery in the beginning. Whatmore’s body of illustrative work has found new homes both throughout the UK and mainland Europe as well as such overseas destinations as Canada, America and Australia, whether it be in the form of original compositions, limited edition reproduced prints and posters or indeed, in greeting cards format.

Although being probably best known and loved for her flower paintings, Whatmore alters here subject matter and genre on a regular basis, dependent on what mood she finds herself in from the outset or simply what has inspired her at that specific juncture in her life. Either way Whatmore stresses that she could never have just created flowers or landscapes over and over again to order, as she thrives on visual stimuli and healthy creative change. To Whatmore’s mind the joy and inspiration manifests itself from approaching a new subject with fresh eyes and an eager heart, and by this token the best-selling artist has recently illustratively toyed with the concept of abstract visualisations, in a departure from her more normally aspired, expressionistic approach.

Whatmore has long harboured a passion for music and admits it would be virtually impossible for her to approach her work without its aural presence. She has even been known to prance around her studio to exceptionally loud music whilst deliberating over/in the creative throes of creating new pieces. But then Whatmore sees the enduring collaborative effect of the two elements, and draws comparisons between the two to underline this point. In Whatmore’s own words she says; “The links between music and painting are clear - both need movement, rhythm and emotion to really be of worth. I listen to a wide range of music letting different types suggest different subjects. I have very eclectic taste in music from soul to folk to dance and classical”, adding; “The common thread is that it all moves me emotionally”. Which is hard to argue against in fairness.

In summary Whatmore also cites the importance of family life in her work, going as far as to suggest that the majority of her illustrative work is akin to a visual diary of the previous year’s events, culminating in paint, glass, fabric or indeed, poetry (Whatmore has had five, self-penned and illustrated books of prose published to date). It’s clear to see that the beach and landscape scenes that Whatmore paints are all taken from places that she’s visited, either with her family or on her own. They are very personal to her, and a huge part of her very existence, yet at the same time she equally relishes the graphic prospect of capturing slices of other people’s lives, reflecting the changing world around us. Everything Whatmore does, creatively, can be traced back to life in general and moreover, the life around us.

View All Art Works By Nel Whatmore