Hamish Blakely

Eolande by Hamish Blakely
Camellia by Hamish Blakely
Red Is The Rose by Hamish Blakely
Autumn Afternoon by Hamish Blakely
A Step In Time by Hamish Blakely
Spellbound by Hamish Blakely
At Last by Hamish Blakely
Angels by Hamish Blakely
Ladies Who Lunch by Hamish Blakely
As If You Were There by Hamish Blakely
Hide And Seek by Hamish Blakely
Silence At Dawn by Hamish Blakely
The Last Post by Hamish Blakely
The Optimists by Hamish Blakely
There aren’t that many professions where husband and wife combos are that well starred. Except maybe magician and assistant (yes, we’re think Paul and Debbie Daniels), the Krankies (although that was admittedly a bit of a weird one) or football club chairman and star striker (then Birmingham City FC’s, Karen Brady and Paul Peschisolido). However despite grave misgivings with Joe and Mrs Bloggs, celebrated contemporary figurative artist, Hamish Blakely and his wife, Gail have positively thrived together as much on canvas as behind it.

Gail Blakely is her husband’s muse for the most part, and is a pivotal part of Team Blakely it would appear, providing her curves so he can create the pitch perfect composition with an alarming (yet pleasingly popular) regularity in the contemporary fine art circles in which he routinely operates. For her part, Gail ensures that the poses look natural in every visually-aware department, whilst at the same time depicting some form of tension in the anatomy. What’s totally disarming (in a good way) is that there’s also this underlying sense of calm about the composition, and this unswerving feeling that she’s completely unfazed by her habitual casting and unconcerned by the inevitability of the viewer’s subsequent gaze.

Seemingly cosseted in her own world, Blakely’s wife presents her husband with what must be the unspoken epitome of inspiration; or the unwritten definition of such. Indeed, a client of Blakely’s described this far more eloquently by suggesting that he, the well-placed artist is; “Painting love letters to his wife” in each special frame. Proof beyond reasonable doubt that as the old adage implies, behind every good man you’ll find a good woman. Or vica versa as the case is here.

Blakely’s background and upbringing was rooted in the theatrical, and his childhood memories are ones of the presence of unrestrained creativity ebbing and flowing; a place where extraordinary things could, and did, happen. Looking back, Blakely knew that it was an environment where I seemed destined to do something unusual in the future, and for that sense of freedom and self-exploration, he sounds eternally grateful to his parental unit. Drawing was at the epicentre of his young life, and was Blakely’s favourite means of personal expression during this early chapter in his life, and he recounts a time and a place when he would simply draw and draw and draw. His motivation at that juncture was to determine how other artists had achieved the effects/finished article that they had, by deconstructing pieces. Or rather copying them in his own way to establish methodologies and techniques that may or may not have been discovered by this process.

Black and white sketching finally gave way to a far more expansive colour palette when Blakely created the likeness of his father for fun, and decided on the spare of the moment to adopt a colour strategy to compliment his monochrome outline. Once Blakely saw the results, suffice to say he never looked back, and to this day is loathed to map out his signature compositions in pencil or crayon first, as opposed to going straight in for the illustrative kill, armed with his arsenal of paints. It was around the point of his 18th birthday that it dawned on Blakely that his natural talent might afford him a living should he elect to follow that particular path in life. This acted as something of a turning point, and with it Blakely realised that it was no longer a case of just loving painting, but realising that he could be rather good at it, given the opportunity to further his gift.

This cathartic moment just happened to happen before Blakely won a place at Wimbledon School of Art, itself succeeded by the completion of a course of study at Kingston University, having almost pig-headedly been living in a previous world of black and white. Everything changed when Blakely embraced this brave new world of colour, ands as aforementioned painting as such replaced drawing in its entirety. As Blakely admits, the only time he ever really sued a pencil or charcoal stick again in anger was during his university years, where he was obliged to do so as part of his coursework; only to give it up again just as soon as he left.

To think, he had spent so much time making preliminary studies with the two limited monochrome applicators, systematically opposing the commitment to administering colour, yet nowadays Blakely wouldn’t have it any other way and reaches for his paints with immediate and un-wavering effect. And what’s more, considers preparatory sketches wholly unnecessary.

On leaving the higher education al environs Blakely wasted no time in putting his subsequently figurative ideas and concepts in to graphical practice, and since turning professional has overseen both his individual and collective works showcased and exhibited far and wide and to critical acclaim from his legions of fans and seasoned collectors alike. Industry recognition and awards were also quick to follow in acknowledgment of his rapidly accumulated achievements in this field/genre.

View All Art Works By Hamish Blakely