Rebecca Morledge

Torquay - Small by Rebecca Morledge
Torquay - Large by Rebecca Morledge
Scarborough - Small by Rebecca Morledge
Scarborough - Large by Rebecca Morledge
Lynmouth - Small by Rebecca Morledge
Lynmouth - Large by Rebecca Morledge
Iflracombe - Small by Rebecca Morledge
Iflracombe - Large by Rebecca Morledge
Dunster - Small by Rebecca Morledge
Dunster - Large by Rebecca Morledge
Coombe Martin  - Small by Rebecca Morledge
Coombe Martin - Large by Rebecca Morledge
Chester - Small by Rebecca Morledge
Chester - Large by Rebecca Morledge
Making an unusual slant on the everyday very much her own, contemporary landscape artist, Rebecca Morledge offers us all a definitive bird’s eye view on architectural proceedings being played out beneath. Vertigo needn’t stand in your way of observing the ‘up above the streets and houses’ vistas of a selection of towns and cities, as well as more rural and coastal vistas, as captured from above. What better way to take in the 'what you see right before you', than harnessing the 360 degree view of it all. And we’re not talking Google Maps’ grid coordinated substance over style here, more precisely what famous UK town and cityscapes like Chester, Derby, Ilkeston and Buxton look like from a seat in the sky, as well as those settlements clinging for dear life onto British coastal fringes, like St Ives, Ilfracombe, Lynmouth and Torquay. Morledge affords us a rare insight into just how famous places look from a completely different perspective, and delivered with a simplistic, refreshing style, totally devoid of any technical restrictions of geographical compromise.

Famous local landmarks, buildings of architectural prominence and the visual jotting of characters and townsfolk are all captured for prosperity on a much heightened, gravity defying canvas look out post, that Morledge can quite literally make to measure for her clients. Indeed, her tailor-made art service allows for family, friends or even your pet to be caught from a far, amid the streets of your favourite town, street or village, should you wish. Everything greatly and accurately detailed and preserved via the facilitation of watercoloured washes over detail-lavished swathes of pen and ink, visually recreating local sceneology like never before.

So how did it get to this for Morledge? What’s her particular story as a contemporary artist when all’s said and done? Well, Morledge has always possessed a love of art, as demonstrated from an early age according to her nearest and dearest, yet it was a birthday present received as an 11-year old courtesy of her grandparents that really put the creative wheels in motion so to speak. A collection of beautiful paintbrushes, complete with a set of watercolour paints were the building blocks to where Morledge is today as an artist. Recalling the products on offer at school around the same time, Morledge acknowledges that the powder paints and brushes that were commonplace were soul destroyingly rubbish, and hardly encouraging to the art of exploration. Or rather the exploration of art. Still, that was then, and we have to leap frog a few decades alas before Morledge actually put brush or pen to canvas in professional anger, as childbirth, being a mum and life in general happened in the meantime, as it has a habit of doing.

Four children later and now thirtysomething, Morledge decided that she wanted to try her hand at art and dip her toes in the pool of artistic reality. Could she cut it? Could she make a career out of her untested passion. Before anything else, Morledge realised that she must educate herself properly in the subject matter, so took it upon herself to return to education; initially studying for an A-Level in Art at evening class, ahead of attending the University of Derby thereafter to gain a degree in Illustration. Throughout this experience, Morledge relied upon the constant support and active encouragement of her husband and family, which drove her onward. On graduating in 2005, Morledge continued to adopt a trial and error approach to her art techniques and to develop her interest within a particular interest and cementing of individual, bespoke style that she could carry forward to the next phase. In 2009, Morledge entered a local art competition which would retrospectively prove to be the defining point in her emergence as an artist. Insistent that she wished to originate a painting that she’d like to purchase herself – and using her love of children’s books along with a penchant for depicting buildings on her canvasses – Morledge created her very first birds eye painting, conjuring up a view of Derby. Accepted into the exhibition and sold quickly afterwards, she was then approached with a commission offer by a visitor to the exhibition who threw down the gauntlet to Morledge in relation to the creation of a personalised version of what had gone before.

This was the catalyst that sparked much and more, and more pertinently settled the style debate that was still raging in her head. From that moment forward, Morledge pressed ahead with her uniquely captivating aerial shot compositions, manifesting a varied array of paintings that caught both real and sometime imagined places, filled with characters and fun events being rolled out beneath the dreaming spires and chimneys from which she viewed the life and times of that city, town or village. Derbyshire still provides the bedrock for Morledge’s flights of fancy, however being as land-locked as her home is, Morledge will use any excuse to travel to coasts, south, east or west of her to find a suitable seaside or harbourside alternative, in which to execute her variations on a strong and rare recurrent artistic theme. Admitting that the people who populate her landscapes both fascinate her in equal measure, Morledge says; “I like to not only make people see places they know in a new light but also the people around them. Every time that I walk through a street, there is something interesting and different, it is never the same, not even for a minute.”

As imagined, Morledge’s type of painting is labour-intensive and takes time to complete. The process is divided into the three separate stages, planning and sketching the layout, painting and then finally using a dip pen and ink she adds the fine details to the pictorial comprehension. Although time consuming, Morledge is keen to add that she: “Loves every minute of it and hopefully people will get the same joy from looking at my paintings that I get from making them.” Most recently, Morledge has diversified her work and branched out into papier mache characters, exploring the possibilities within a more 3D contextual surround and genre.

Morledge’s work has been bought by private collectors and has been shown in group and solo exhibitions.

View All Art Works By Rebecca Morledge