Wendy McBride

Out Of The Blue I by Wendy McBride
Out Of The Blue III by Wendy McBride
Blue Vista I - Isle Of Scilly by Wendy McBride
Coastal Reverie I by Wendy McBride
Coastal Reverie II by Wendy McBride
Cornflower Blue by Wendy McBride
Tranquil Shores I by Wendy McBride
Tranquil Shores II by Wendy McBride
Emerald Waters I by Wendy McBride
Emerald Waters II by Wendy McBride
Ebbing Waters I by Wendy McBride
Ebbing Waters II by Wendy McBride
Out Of The Blue II by Wendy McBride
Solitary Haven I by Wendy McBride
There’s a searing, narratively unspoken beauty and wealth of evocative posturing to a typical Wendy McBride composition who’s body of illustratively towering work is directly influenced by her emotional response to the natural world that fills the celebrated contemporary landscape artist’s immediate environs. With a pictorial emphasis placed on the always wild and more often than not, watery vistas indicative of her native West Country, McBride’s individual and collective pieces effortlessly capture and cement on canvas a very specific time and a hugely enigmatic place; and one which leaves a lasting impression on her legion of fans and seasoned collectors alike.

There’s a unique feel and almost function to a signature McBride painting to our mind, which essentially symbolises the raw, breath-takingly beautiful and ever-changing panorama that is McBride’s regular illustrative playground. And the critically-acclaimed coastal landscape artist certainly manifests the tangible indifference of the seascapes through her physical as well as emotional approach and application to her bespoke art. Not least by the manner in which McBride constantly rubs, scratches, scumbles and generally interacts with her canvas throughout the administration and presentation of her hallmark pieces.

McBride insists that her paintings are the still living, breathing memory of her up close and personal encounters with her muse, and cites the inexplicable feeling and atmosphere, along with the quality and depth of light and general ambience and inherent spirit of the landscape she graphically obsesses over so as to afford her audience such draconian pictorial offerings. Opting to paint both in situ as well as the more conventional, studio-space, McBride enthuses us with a sense that she sincerely likes to live and breathe her paintings before they become her latest masterpiece, and speaks candidly of walking, sketching, taking notes and photos to use as a reminder whence she returns to her studio. McBride muses; "For much of my life I have lived in the West Country among the weather and shifting seasons. Nothing is fixed here, not for a day, not for an hour,” adding; “But somehow, particular encounters with the natural world get stuck in my mind, and I think this is where the pictures begin”.

Inspired by the likes of Degas and Turner from an early age, describing the latter’s more abstract period as being a main source of influence, McBride also pays mention to Barbara Rae and Scottish colourists Joan Eardley and Judy Buxton, contemporary painters themselves who live up to and graphically convey this expressionist painterly quality which appeals to McBride on many levels. Favouring pastels as medium of applicative choice, McBride only really ‘feels’ the composition once she’s getting in amongst it, so to speak, and intuitively following what her initial canvas marks dictate; taking the painting where it needs to go, courtesy of the aforementioned hand-rendered cajoling and the brushed equivalent of poking and prodding for want of a better word. Essentially McBride champions the exploration of the different possibilities that her chosen medium throws up and manipulates it accordingly.

McBride, despite being interested in art for as long as she cares to remember – and traced back to her own childhood – didn’t have the opportunity or necessarily the required mindset to pursue any artistic inkling that she may have had until fairly recent times; and after the birth of her own child. Although she recounts spending many hours with a paintbrush in her hand as a child, McBride didn’t look upon art as a serious vocational option until her youngest child began school apparently. And it was at this relatively late juncture that McBride arrived at the decision to return to higher education to instil herself with the skillset and understanding she’d need to potentially make a go of it as a bona fida artist in the future.

Attending Marjon College in Exeter, McBride eventually completed a degree in English, Art and Design, choosing to balance the literature with the creative to achieve a fundamental grounding in which to take forward. Since graduating painting has taken over McBride’s daily life, in a good, positive way of course, yet that alone was shared with a more educational-based post-degree pursuit in the first instance. Having enjoyed stints teaching both painting and creative writing McBride finally settled on fine art as her full-time career, and today is a seasoned exhibitor at galleries and art venues the length and breadth of the UK, alongside of accumulating an impressive following of fans, collectors and critics alike.

Elsewhere and McBride’s illustrations have also been instrumental in designed covers for several book titles (poetry anthologies numbering many), while many of her commissions grace hotels near and far.

View All Art Works By Wendy McBride