There is buzz as I arrive at an art fair. Friendly, full of anticipation and the joy of seeing plenty people after a few months of flying solo in the studio creating new work. Many artists on the circuit know each other and have done for years. Whilst unloading our cars and vans laden heavily with canvases, sculptures and passpartout, there are hugs and kisses abound as everyone says hello and makes their way to their stand - Their home for the next few days.
Do you fancy treating yourself to some super art, but too afraid to take the plunge? Read on for my simple guide to getting the art you want without getting bamboozled.
Unless you're already an experienced art collector, the thought of buying an original piece of art might feel daunting, but with these tips you’ll have the confidence to choose art for your home, that suits your style and budget.
A couple of weeks ago I wrote a blog about the art fairs coming up this spring. Well here I am at the first of this year's.
Yesterday things were all a buzz as artists from across the country arrived at Farleigh Road farm shop where this year's Bath Art fair is being held.
Seasoned regulars and brand new emerging artists alike unloaded their cars and vans and started to set up their stand yesterday.
It's always really exciting to see how other artists present their work. And as a visitor be amazed at the striking variety of art on offer here this weekend.
Last night's private view. Sometimes artists feel a Private view is just an excuse for people to wonder about chatting and drinking wine! I rather enjoy a private view; visitors were really engaged with the art. I had so many lovely conversations with people. One visitor to my stand "this is tremendously exciting, I've never been to a private view before".There was a really lovely friendly atmosphere here yesterday evening and I am really looking forward to the whole weekend.
If you have never dared to venture into an art fair then this weekend is your chance. Bath Art Fair is situated in Farleigh Road just off the A36 between Frame and Bath. It's easy to find, as there are plenty of signs including AA signs. Put BA2 7NG in your Sat nav. When you get here there is free parking -which explains why the fair is not being held right in the centre of Bath! You get to browse around our marquee and see over 50 of Britain's leading artists showcasing their work. There is no obligation to buy, you get to chat to the artists and find out their inspiration for their work. You'll be tempted I'm sure. There's even a charity stand for Dorothy house where artists have donated small pieces and previously loved works from their collection to charity. You could pick up a quality piece for a real bargain!
You can stay for as long as you want, stop and have a nice cuppa and slice of homemade cake in the cafe.
The wonderful thing about an art fair of this kind is that there is no need to feel intimidated. The artwork ranges in price and most artists have some more affordable pieces, or limited edition prints that present real value for money. Equally if you are looking for that perfect piece to set off your favourite room in your house there are some larger, beautifully finished pieces ready for you to take home. There really is something for everyone.
So I really hope to see you at some point this weekend.
Opening times are:
Friday 7th April 11am to 7pm
Saturday 8th April 10am to 6pm
Sunday 9th April 10am to 5pm
Why my packing will ensure your painting will arrive safe and sound when you order from me.
When I travel to exhibitions and art fairs, like many artists I use Stiffy bags. These are bagsmade from reinforced bubble wrap, they are reusable time and time again and they enable artists to quickly and safely move their paintings. I love them and use them all the time!
However when I'm packing my paintings to be transported by post I have to be significantly more careful. Postage and shipping can be a problem, but not for me!
Most of my paintings are oil on linen canvas. They are quite light. However they can be fragile the most common problem with transporting an oil painting will be a dent.
How many times have you ordered something on the Internet to find a significant dent in the side of the box? If there is a big book inside there is no problem but if there is a painting could be ruined. So here are the layers that go into making sure your painting will arrive without a dent or scratch regardless of how beaten up the box might look on the outside!
The very first layer in my painting-package-sandwich is a layer of archival tissue paper this ensures that the painting surface arrives in perfect condition. Archival tissue paper is acid free and feels soft to the touch.
The next layer is simply a layer of package film to keep the tissue paper in place.
The next layer is a layer of cardboard on either side of the canvas; this is essential to keep the canvas free from dents during transit. The inside layer of cardboard is cut to fit inside the frame keeping the campus really safe and secure.
Then I wrap the entire painting in a few layers of bubblewrap. I have a huge role on hand in my studio and I'm very generous with the bubblewrap! After a couple of layers I then cut another two pieces of cardboard. Remembering that the painting has now grown a little! Then I wrap another few layers of bubblewrap around the painting/ Remember the painting is now completely cosy with four layers of cardboard and about eight layers of bubblewrap.
Then I put my fully wrapped painting into a cardboard box. Sometimes I will have a box that fits as I will recycle the boxes that my canvases arrived. So in this instance a 60 cm canvas now fits perfectly in an 80 cm box. Finally I will tape up the box firmly with parcel tape and “fragile” tape
If I haven't got an appropriate sized box I can make one. I use a sturdy type of cardboard and plenty of gaffer tape and parcel tape will keep it in position.
Over the years I have used a variety of different carriers, it really depends on where you live! Thus far my packaging sandwich has worked extremely well as I have never had a customer faced with the horror of received in damaged painting.
So if you've been thinking about buying a painting from me online, but you're worried about how it will ever get to you; don't panic the packaging will make sure your painting arrives safe and sound.
If you sign up for my newsletter you'll get FREE POSTAGE AND PACKING on any order placed on 24-26th March.
The art of perfection or how to develop the skills that pay the bills!
In David Bayles and Ted Orland’s book “Art and fear” they cite a project of a ceramicist teacher. In the project the teacher split the class into two groups one group was told that they would be graded entirely on the quantity of pots that they produced - produce as many as you can, they whole elite will be weighted at the end of the project. The other half of the class was told that they would be graded entirely on quality. It did not matter how many pots they produced during the process, they simply had to arrive with one perfect pot at the end of the project. The results were astounding as, without exception, the students that produced the most pots, also produced the best pot. It would seem that the students in the quantity group were rapidly producing pots, failing, and learning from their mistakes, whereas the quality group was slaving over design and working out perfection without experimentation. And without feeling what failure felt like and recovering from it.
I think this experiment is so important to understand when try trying to develop your skills as a professional artist. You're not simply looking for one piece of perfection when you're creating art you have to go on a journey before that piece of perfection happens. Anyone that is put off creating art because it won't be perfect is doomed to failure and never to pick up a brush again! Those of us who are prepared to fail, those of us who are prepared to throw the campus in the bin and start all over again, those of us who are prepared to keep trying are on the road to success because eventually something good will come.
One cannot possibly sit down at the piano for the first time, having read every book on classical music, and expect to play Rachmaninov’s piano concerto Number 2 straight off. You've got to play a lot of bum notes before you're going to play that concerto!
So how do we experiment successfully? Is there such a thing as successful failure?
Looking at my own practice I think without doubt the “quantity/ quality “ experiment is evident in my work. At the beginning of the year I started daily painting. I need to be clear here I'm not necessarily painting every single day, but every working day. everyday, I sat in my studio in Salisbury, on dark January days, painting as if my life depended on it. I think this has hugely enhanced my practice. I began the year by painting little still life paintings of fruit. This might seem an odd choice as all of my larger paintings are landscapes or big colourful animals.
So what possible relevance could it be to paint some dramatically lit cherries on a small canvas?
The benefit was in the doing: learning how to set things up, learning how to create interesting composition with very simple elements, learning to mix colour accurately, learning to see colour on a plain white tablecloth where others might have simply painted it white and grey. There are so many skills involved in painting a small painting that this has helped inform my larger, more ambitious work.
This whole process has enabled me to understand my medium in even greater depth; oil paint is, in my view, a fathomless medium so understanding it is a lifelong task.
I am delighted with the work that I have been producing of late, and you might have seen some of my work on my Facebook page or on Instagram or on Twitter. But rest assured there are plenty of experiments, accidents, and a huge number of mistakes that have led to the work that I am now able to produce and publish on the Internet.
So I urge you next time you look at a piece of art don't think about how long it took, think about how many failures there were before it worked. This might encourage you to buy it or it might encourage you to get your paint brush out, either way, you’ll be on a journey to understand the skills that pay the bills.
After reading that title; if you've tuned in to read a blog about the EU referendum, you're in the wrong place, this is all about art!
Whenever I’m asked "So what kind of art is it that you do" I always say “Beautiful oil paintings inspired by nature”. That has been my
The countryside and coast have been my inspiration from the start.
Most recently my animals have been a real hit; newly exhibited this year.
I have just returned from Reading Art fair and the first three original paintings to fly off the walls were all animals, the first three prints were animals too. Just as I began to think that a pattern was emerging, the next three where landscapes and seascapes so who knows?
The simple idea that nature is beautiful and artists want to capture it is as old as art itself. The cave paintings at Lascaux in France demonstrate art's purpose was not only showing the importance of the hunt and recording an event, but also the animals that were stalked or chased during the hunt. I remember very clearly the first time I opened Gombrich’s “The story of art” to see Albrecht Durer’s portrait of a hare and thinking how can it be possible that someone can create something so lifelike simply with a pencil? My hare is a different take on that beautiful and very popular animal. This hare was the second painting to sell at Reading at the weekend and I love him, I will be painting another hare but it will be different to this one: a different size, different canvas, a different background, a different expression but it will still be a much loved beautiful hare.
Various people looking closely at my work commented on how I had captured the essence of the animal with out being too realistic. I was delighted to hear this as that was the plan!
One of the big challenges for a painter (landscape, animal, anything really), is to work out what to keep in and what to leave out. What we leave out is just as important as what we put in. Most people tend to notice my vibrant use of colour in my animal paintings. A Stag does not have blue and turquoise in it, a hair doesn't have a blue nose or purple ears. I think I'm a natural colourist, I like adding colour. I'm a painter! I have to bring something to the party that is different to a photographer.
Interestingly I think my use of colour in animals has stemmed from so many years of landscape and seascape painting. Trying to capture that particular pink cloud in the sky can be a real challenge and it's led me to be able to use colour in really exciting ways even when I'm painting something that is essentially a series of browns and greys. I can add bright colours that really bring the animal to life.
I believe that artists can give the viewer a clearer sense of what they might be looking at in nature. The very selection of colour life and personality in each of my works is communicating something different to the viewer other than what I saw in the first place. It is the fine line between recording the event or the place or the person or the animal and bringing a story to any of those elements so that the painter provides the viewer with something more.
With each of my landscapes and seascapes I have always considered them to be your personal window on the world, the view that we wish we had from our kitchen, we have a painting to reminder us of that beautiful place we once visited. However with my animal paintings I think I'm bringing a different kind of joy to your living room.
Something I noticed this weekend at Reading, when people visited my stand was how many people put on a funny voice when looking at one of my animal paintings. Anyone my age will remember Johnny Morris and Animal magic and perhaps it’s inherent in us to put on silly voices when we think of animals; that level of anthropomorphism is very strong in the British psyche. I have heard so many young people making moo noises at my cow and squealing with delight when I saw a happy muddy piggy.
So what does all this tell us?
It tells me very clearly that I'm part of a long tradition of artists who have always been inspired by nature and inspired by what they see around them.
All of my landscapes (with perhaps the exception of the old picture of Venice or Paris) are of places I live near. All of my animals are also animals that I can see in Wiltshire, Dorset or the New Forest.
I like being part of the tradition. I like celebrating the British countryside and coast and the variety of creatures that live on our shores.
Do you share your life with a creative?
Or have a son/daughter pursuing the arts?
Maybe your best friend has just jacked in her job to finally lead a truly creative life?
Can they be a right royal pain in the backside at times? Don't worry, you can make them happy very easily with my top tips - I guarantee they'll appreciate your efforts.
1. Creatives can be sensitive!
That doesn't mean shower them with false praise! But try to be gentle if criticising their work; it can be tough. However, in my experience creatives are very able to take criticism about other aspects of their business, so if you know a better printer, courier service or accountant, tell them - they'll want to know!
2. They're doing lots of things you can't see.
Creatives are often "one man bands" and do everything. I'd love it if every day was pure painting! But whatever it takes to keep business going, that's what they're doing. So if you feel you can't really talk about their art/photography/papiermache hats then talk about their business. They'll love it and again you might have some useful insight that they'd really appreciate.
3. Online is good, bad and everything in between. And it takes up time.
Creatives need to be online, and sell online, and know what their competitors are up to too. We need to have a presence online - and here's where you can really help the creative in your life:
Like, share, heart, retweet whenever you can!
Facebook business pages don't have the same reach personal profiles. So
everytime you click 'like' on my business page, it tells Facebook that my post is good and groovy and it extends the post reach to others.
Everytime you share or comment, it pushes it even further. All for free. And boy do I appreciate it. I really do. It's the same for retweeting on twitter, putting a heart by an instagram photo and re-pinning a picture on pinterest. And yes, most creatives are trying to manage all of these platforms because they're good for business.
4. Give them a testimonial.
Pop them an email with a nice quotable sentence.
I really appreciate the friends who have, over the years, bought work from me, attended my workshops, seen my exhibitions and visited my studio. And indeed, the new friends I've made by selling work or doing workshops. When they've written a little email with how much they enjoyed it, or how much they learnt, or how much they love my painting - it's worth its weight in gold. It not only helps me through the tough days ( and that alone is great) but it helps fill a folder of testimonials, that help other customers develop trust in me, my work and my business..
From the bottom of my heart, thank you for supporting me!
Last week I blogged about how the French have art in their homes and the Brits do not!
So this week’s blog is going to rectify the situation and give you confidence enough to go and buy some great art.
Remember, always look online for artists in your area first, then visit their studio. It's a great way to find out what you like without pressure. If you can't find an artist you like, in your area, the next plan is to visit a small gallery (nothing too intimidating) or go to an art fair. Again, you'll find something online, have a good look round the website first before you go. It will really help.
Once you've gone to the studio/artfair or gallery- here's my top ten rules to help you select art. You should really enjoy the process of buying yourself some gorgeous new art.
The absolute rule number one is - Only by art if you love it! You might have to compromise with your husband/wife or you might have to think a bit carefully about how much you love it but broadly speaking if you love the art you can't go far wrong.
Rule number two- Think about where it's going to go. You might have a plan when you walk into a gallery or an art fair that you're looking for a piece of work for the lounge. This is quite a good strategy if you're not sure what you're doing. As you can start to visualise where the work of art might go. However if you love something, even if it won't go in the room you planned, that’s still the best reason to buy.
Rule number three - Size matters! Broadly speaking it doesn't really matter if you have a large piece or a series of small pieces to start your collection. But if you have, for instance, wall lights in your home you might find that large artwork doesn't fit in the room in quite the same way you had planned. Having a maximum size is a good idea. If you don't want to pay for shipping or delivery having a clear idea of the largest painting that will fit in your car is a good plan too! Very often artists will be able to arrange shipping for you if you are buying a very large piece that simply won't fit in the car.
Rule number four - Colour. I think this can be an automatic. You might decide that a series of blues and yellows will fit in well in your home, but if you fall in love with the landscape with a load of red poppies in the foreground it will still work. Besides, your natural liking for a colour palette will come through anyway- you're going to be back with rule number one quite frankly!
Rule number five - Have a budget and stick to it. Again it really doesn't matter how much money you spend provided you spend what you can afford. People seem to think the art world is about tens of thousands of pounds or even millions of pounds. At most of the art fairs I attend, the starting price for an original work of art is £45! That will be quite a small painting, but it's original and it's unique and it's a great place to start. Broadly speaking at a lot of the art fairs I go to you could get a medium-sized work of art (less than 1 m²) for around £400 depending on the medium. Obviously some artists are more. But the point is you can walk away with stunning work for only few hundred pounds if you want to. That's really impressive actually.
Think about it; you might have spent over £10,000 redecorating your kitchen why finish it off with a cheap little print for 20 quid from B&Q when you can have original artwork for just a couple of hundred quid.
Rule number six- Try not to worry about investment. You might get lucky, you might find a new emerging artist, buy their work for only a couple of hundred pounds, and then in two years time discover that their work is going for 10 times the price! It really might happen. Lots of successful artists at very least find their prices going up after only a few years into their career. However when you're buying work for less than £1000 try not to worry about what it will be worth in a few years time. Just make sure that you're going to love it in your own home that will be enough.
Rule number seven - Quality. Quality is really key for you to carry on enjoying your art. Feel free to ask the artist anything about the quality of the materials they use. Find out about pigments, ask them about colourfastness. Okay so you might be able to hang a £300 work of art in 500 years time but you certainly don't want the colour to fade in less than 10 years.
Room number eight - Negotiate! Some artists will not negotiate at all. Some High Street galleries will not negotiate at all. Don't be offended if people say “The price is the price please don't ask for a discount”. However if you buy more than one work of art you may well find that artists have a little bit of wriggle room and might give you say a 10% discount because you're buying more than one piece. The worst they can do is say no, if they do say no please don't be offended smile sweetly and say “It was worth a try”!
Rule number nine - Look after your art! Recently I sold a very large piece to a couple and they said “Is it true I can’t hang this over a radiator?”
Well here's the deal; in my kitchen I have a very large oil painting of Stonehenge and it hangs directly over radiator, it's opposite the oven, it gets steam and heat and cold and sunshine on it the whole time. Six years of being in the spot and it still looks like new! However if I had a work of art that I've spent a lot of money on, or if I had an old work of art that might be a little more fragile I would not dream of putting it over a radiator- as a rule of thumb you have to be careful with extremes of heat. But broadly speaking new art, on sturdy canvas frames, painted in oil or acrylic, can take quite a beating in terms of conditions! I even have an oil painting in my bathroom! However watercolours are significantly more fragile and definitely not be placed in a steamy room. Also be very careful about direct sunlight. Okay in our climate we’re not exactly living in Greece, the sun really isn't so strong and it doesn't shine for that much of the year , but sun will fade out paint incredibly rapidly if given the chance. Just think about the fading on your curtains or fabrics in a sunny room - that’s what might happen to your painting so do be careful. If in any doubt at all ask the artist. And if you move the artwork to a new room, still feel free to email your artist years after you've bought it they will be happy to help - honestly we really will.
Room number ten- Don’t be scared of being a numpty! I think the single biggest reason people don't buy art directly from artist is that they are frightened of looking like an idiot! You are not an idiot! It's your money and it is your house and it's up to you how you decorate it. Tell the artist what you're looking for maybe even tell them what work of theirs you like and what else you might like to have. Artists will be helpful to you at art fairs. I've even recommended other artists to potential clients because I knew exactly what they wanted from their description and I knew where they needed to go to find it. Gallery owners will do the same, they will try to match you up with the kind of art that you want, that's part of what you're paying for, don't be bullied and don't worry- it's your money and your house, buy what you love!
My next art fair is Reading art fair 22-24 April. There are over 100 artists there, there is a huge range at very reasonable prices. Message me if you’d like Private view tickets or 2 for 1 tickets over the weekend. www.readingcontemporaryartfair.co.uk
For sometime now I've been adding a touch of gold leaf to the foreground of my paintings. Not all of them. Not very much. But every now and again I like this little extra bit of business for the eye. The images below are little details of foreground using gold leaf.
The thing is with gold leaf, is that I have the devil's own work to get the damn stuff where you want it. Also, gold is one of the few metals that can "cold solder" - i.e. it will stick to itself given half a chance, and you can't unravel it like cling film. It's also rather expensive to make those kind of mistakes all the time.
Guilders cushions, that keep your equipment and gold leaf all in the same place and keep all the annoying little wafts and drafts out, are all the thing for guilders.
But I'm not a guilder, I'm a painter that wants just a touch of guilding.
So I've been experimenting with other forms of gold.
It's jolly hard to find the right shade. I want it as close to gold leaf as I can get, nothing too brassy.
After much searching I've found some gold style powder and you can mix it with oil mediums, gold size, and glaze mediums so that you can paint oil colour along side or even on top of it.
The medium I mix with the powder has an impact on it luminescence and it's colour.
After a lot of playing about...I mean serious experimentation and chemistry, I've discovered that my gold mixture makes a rather splendid background for some flowers for my daily painting project.
I posted one of Magnolia on Facebook and twitter the morning and it's already sold. Its the perfect gift for Mother's day. (I happen to have a lovely Mum who has her birthday the same week as Mother's day, so I always need an alternative to flowers planned!)
Despair not, there are four more gold pictures on my website, that went live today. Just as beautiful as the Magnolia, on gold and gorgeous. And I have a sneaking suspicion that there might be more. I absolutely love the effect.
Several of my artist friends, paint every day, no matter what. I've always found the idea great if a little daunting. If you missed my first blog on the subject I refer back to Carol Marine's book you don't necessarily have to paint every singe day, but the point definitely is little and often, rather than trying to splash some paint on seven canvases every Sunday and pretend you're doing every day!
So I've been painting everyday (mostly)
I've been posting my work on my Facebook page, but here's a catch up if you haven't seen what's been going on.
On Saturday and Sunday, both canvases have been a little bigger than I planned for most of the project. These are both on 25cm x 30 cm, which are pretty manageable as a professional artist, but if you're just starting out you'd be wise to go a bit smaller. Remember the whole point is to be able to experiment, find your artist's voice and paint fearlessly.
For me, both of these paintings are a departure from my landscapes and seascapes.
What am I getting from this so far?
Observation is key.
Discipline is important.
Colour mixing essential.
I'm obsessed with how light changes in nature, but having control over how you light your subjects in still life is a revelation.
I'm delighted that the perfume bootle with the blue bottle is sold already. Nice start!
For two of my my days this week I didn't do an oil painting, one was a watercolour and one a relief print, whilst working in Salisbury museum. I haven't included them as they're not for sale. Also I really want to focus on oil painting, as that's my bread and butter, and it makes sense to really use the project to experiment with such a vast and diverse medium.
So for the next three paintings I've gone smaller, and I've now ordered some more of these cute little canvases from Jacksons art supplies.
They are 15cm x 15cm with a deep edge, they look so cute and chunky. They are professional standard and you can really feel the quality. I really like the impact these chunky little canvases can have. They look particularly lovely when hung in rows of three or groups of four.
During Studio 53’s Winter Open PV I was chatting to a fellow artist who was also extolling the virtues of painting everyday.
“Sure, I paint everyday” I thought.
“Well I sort of do” I reviewed in my mind.
“Well I definitely draw everyday”.
That at least is true.
I had excuses.
Tonnes of them.
I’m a solo entrepreneur, I do everything for my business, my website, my twitter feed, my facebook page. I run workshops, I blog, I research, I’m an oil painter which is hard to do on the run, quickly or in a hotel room….la la la.
All these excuses have faded away, because in-between Christmas and New year I read, a much recommended book - “Daily painting” by Carole Marine.
The basic premis is simple. Paint every day, or at least most days.
Minimum 4 times a week.
Paint small so that it’s manageable.
The benefits are huge and varied, amongst them:
You’ll be painting in an experimental way, without fear.
You’ll improve your skills rapidly. If you're already a pro you'll find your artistic voice.
And you’ll have loads of paintings from which to learn, or if they’re good, to sell.
The book has a wealth of information for the amateur and professional alike, as it covers media, composition and colour. I recommend it.
So trying to get one up on a new year’s resolution I started my Daily painting habit just before new year's eve.
When the weather (and light) is good I want to be outside painting, as a landscape artist it's essential. My years of teaching have led me avoid relying heavily on photographs in the studio, and will only work from them if accompanied by my sketches.
So, inspried by the book, I felt some small still life paintings, in oil would be the way ahead.
I painted the inside of a box with black acrylic paint.
Used a little box inside it and covered it with an old shirt of my husband’s rather than cutting up a big white table cloth.
I cut a hole in one side of the box and stuck an angle-poise lamp through the hole.
Then I picked up a lovely handmade golden pear off of the Christmas tree.
I placed it in my black cardboard box on my old-shirt-tablecloth.
There it was. A simple, lit still life.
I painted two in fact.
So here are my first two paintings using the Daily painting habit.
Both are oil on canvas.
Can’t recommend it enough.
I’ll be posting more.
Many many more.
The best examples of my daily paintings are available to buy from my shop.
Ever since I was very small I think I’ve hankered after a sea view. And now as an artist I think I want to give everyone a room with a view.
Like lots of people I associate the sea with holidays, whether its an overcast day on a British beach, or a tropical paradise; the sea often means well deserved R&R.
For us Brits, an island nation, we’re never further than 73 miles from the sea and I think there is a collective love and awe of the seas around us.
For quite a chunk of my 20s I lived very near the sea (about two rows back from it) and it undoubtedly still features in my work.
When I moved away from Bournemouth, my husband found us a house with an amazing view and a studio already build in the garden. The view isn’t the sea, but it’s wonderful, huge and expansive. On the North side of Salisbury ( the 7th best city in the world to visit according to Lonely Planet), we overlook the valley to see the ancient origin of the city, Old Sarum.
Most landscape artists are obsessed with light; the immense skies above me serve as a constant inspiration. The landscape below so often acts just like a seascape, reflecting the sky above, creating a mood and atmosphere. Reminding me, and ultimately any viewer of my paintings, of a place, feeling or emotion.
I am often working on landscapes based on the areas around Salisbury, but have most recently been working on my coastal collection. Largely inspired by the Dorset coastline, but also sometimes reminiscent of places further afield. The light in the sky can be bright and strong from the tropics, or warm pinks reminding us of the French impressionists, golden Italian light and even blue and grey shades of Britain. My experiences and the view in front of me inform my work.
There isn’t a political message in my coastal collection, nor a hidden agenda. It’s quite simply about giving everyone room with a view. Art can do that. Art can make our living space beautiful. We can wake up to a cup of coffee and a sea view in our kitchen, without moving house, so long as we have art.
As Denholm Elliot’s character Mr Emmerson said in A Room with a View “Why shouldn’t they have their view if they want it?”
Go on, have your view, if you want it.
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