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News : Rob Hain Art Celebrates Glasgow Launch

artist rob hain has kindly joined the new breeze gallery in frasers, glasgow to celebrate the launch of our 4th gallery.

breeze are delighted to share more contemporary art with a wider audience and rob hain’s new works of glasgow are a joyful expression of our affection for this exciting city.

amazingly, a characterful and charming print, ‘I belong to glasgow’, will be offered in a free prize draw – do not miss this opportunity or the unique chance to be painted into rob hain’s current painting!

we have a wide selection of rob’s art work available to reserve online. visit the breeze gallery website now to reserve a wonderful work of art and avoid disappointment.

saturday the 31st of october – 11am until 3pm!

call us now on 0141 221 0189 to find out more.

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News : New Wendy Corbett & Toni Hargreaves Originals

 

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join artists wendy corbett and toni hargreaves with the breeze team in peebles for a live painting event! both artists are accomplished in their fields and would be delighted to share with you an insight into their work

new art works by landscape artist wendy corbett and wildlife artist toni hargreaves will be launched at the event.

watch as original work unfolds before your very eyes and understand the unique artistic process first hand.

we are delighted to share with you a sneak preview and perhaps the perfect Christmas gift awaits you at this live event.

we have a wide selection of wendy and toni’s art work available to reserve online. visit the breeze gallery website now to reserve a wonderful work of art and avoid disappointment.

saturday the 31st of october – 11am until 3pm!

call us now on 01721 721 684 to find out more.

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News : breeze art comes to glasgow

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the opening of breeze in glasgow was a triumphant success. at the invitation of frasers, as they celebrated their 160th birthday, breeze hung a new and stunning selection of limited edition prints and original paintings. this collection boasted some old favourites along side some new talents including Akiyama, Philip Raskin, Chris & Steve Rocks and Inam

of course, we a  scottish company and are proud to support scottish art so come in to house of frasers at 45 buchanan street to see art work by artists closer to home such as david graham and rob hain – who is painting live this saturday, the 31st october between 11.30am and 3pm.  we hope you can join us.

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News : Fabulous Furniture & Fabulous Accessories Too!

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These fabulous doorstops are pictured being welcomed by Janice.

All of our doorstops are looking for new homes and can be bought – with prices starting at just £16.99 – at Breeze Art and Furnishing at 88 High Street Peebles along with other outstanding quality furniture, limited edition prints and original art work - including paintings by Alexander Millar, Bob Dylan, Nick Potter, David Graham and many, many more.  We have galleries in Peebles, Edinburgh, Loch Lomond and Glasgow.  Pop in to a gallery near you to find out more

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News : David Graham Original Art

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last month, artist david graham kindly joined an eager audience (enjoying a restorative day out on the shores of Loch Lomond) to paint live at the breeze art studio in jenners at loch lomond shores. 

david brought with him an original painting of loch lomond, straight from his studio. this was quickly snapped up by a delighted visitor. 

those fond of the area surrounding loch lomond will be delighted to discover that david graham has just painted new workof this beautiful area, evocative of feelings of nostalgia for this bonnie land.

Breeze is proud to feature a range of David’s limited editions or original art which you can reserve online or buy in any of of our galleries throughout Scotland.  Contact us to find out more.

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News : Paul Horton Shows New Limited Editions & Originals In Edinburgh

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Following Paul Horton’s successful visit to the Breeze gallery in Peebles, he sped through to Edinburgh and wowed a delighted throng of visitors at the Breeze gallery in Jenners.

Several visitors were slightly star-struck by the artist and had never before met Paul Horton live! Some regular Paul Horton fans were eagerly awaiting the artist who humbly arrived early and stayed late to ensure that he had time to spend with all his guests.  All in attendance were delighted to see Paul’s fabulous range of limited edition prints and there was a great deal of interest in the original works of art on offer.

The packed gallery was as busy as for our other past events, such as the storming success of Alexander Millar‘s Homecoming and Bob Dylan‘s runaway hit series, Train Tracks.

More live artist appearances, painting events and workshops coming soon!

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News : Paul Horton Shows New Limited Editions & Originals In Peebles

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Here is the exciting news from the Breeze Gallery in Peebles, after the much awaited visit from collectible artist, Paul Horton, who had kindly agreed to come and talk about his fantastic range of limited edition prints and original paintings.

‘We had a fabulous morning with Paul. We only wished that he could have been here longer! Paul arrived bright and early and after a quick tour of the fantastic furniture showroom and gallery, the storytelling began.

Paul is a fabulous story teller and is very proud of his achievements. He explained that he does a lot of work with school children, helping them to realise that they can fulfill their dreams and that they must believe in themselves. This is close to Paul’s heart as he has worked hard to become such a recognised artist and if he had listened to those people telling him to get a ‘proper’ job, he wouldn’t be where he is today.

He told of how a visit to a large puppet theater that was closing down was the inspiration for his current style. Being locked in a dark storage room with almost life size marionettes may seem daunting for most, but Paul relished the opportunity and many of his characters that we have grown to love have come out of that time.

Elizabeth brought in her son’s red spotted handkerchief to dress the gallery and was touched when Paul asked if he could have it to tie to his easel in his studio. How could she say no? Paul said that every time he is painting from now on, he will be inspired by that hanky!

Thank you Paul for being a lovely guest and we look forward to meeting you again!’

After Paul enthusiastically chatted with guests and talked about his work and happily posed for photos, he then rushing off to our Jenners gallery to meet many more of his fans. There a busy throng eagerly awaited his arrival and the signing of autographs began again?!

More news and photographs to follow from Jenners Art Gallery!

Breeze is proud to feature a range of Paul’s limited editions or original art which you can reserve online or buy in any of of our galleries throughout Scotland.  Contact us to find out more.

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Paul Horton : The Look Of Love

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The Look Of Love by Paul Horton

Framed pastel.

29cm x 33cm

Price Framed: £1500 (image shows this artwork mounted.  For sale as framed only)

We're sorry, unfortunately this art work is now sold

Paul Horton : No One Else Could Love You More

sold

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No One Else Could Love You More by Paul Horton

Framed pastel.

35cm x 51cm

Price Framed: £1990 (image shows this artwork mounted. For sale as framed only)

We're sorry, unfortunately this art work is now sold

Paul Horton : More Than Ever

sold

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More Than Ever by Paul Horton

Framed pastel.

29cm x 33cm

Price Framed: £870 (image shows this artwork mounted.  For sale as framed only)

We're sorry, unfortunately this art work is now sold

News : Paul Horton Live

enjoy the company of paul horton, the storyteller

on saturday october 17th, collectible artist paul horton will be appearing in the breeze gallery, peebles from 10am until 12 noon and in the breeze gallery, jenners, edinburgh from 2pm until 4pm.

a body of more beautiful yet affordable limited edition art will complete the collection on display. the artist would like to sign pieces purchased at this event and write a personalised message!

 
Paul Horton - Love Is Life Paul Horton - Far Beyond
Paul Horton - The Man Who No One Knew Paul Horton - Spellbound

Inam

Forests shrouded in mist and silver birches glowing in the moonlight are the subjects of Inam’s exquisite and atmospheric oil paintings which blend colours and textures to mesmerising effect.

Born and brought up in Karachi, Pakistan, Inam learned the fundamentals of sketching and painting at a young age. An influential art teacher ensured he was given a solid technical and creative grounding, and encouraged him to pursue his outstanding talent. Keen to absorb as much of the world as he could, he travelled and attended three very different art schools in London, Istanbul and Atlanta, Georgia. From each of these he took away something specific, both in terms of inspiration and discipline and they all played an integral role in forming his future style.

Inam now lives in the United States. Although he has been painting from childhood, he debuted as a professional artist in 2001. His success has been international and he has been invited to exhibit his work in cities ranging from Karachi to Las Vegas. He has also fulfilled many prestigious commissions and his work hangs in mansions, boardrooms and even yachts all over the world.

Chris & Steve Rocks

Chris and Steve Rocks represent a unique phenomenon in the world of fine art. Twin brothers who were born only seven minutes apart, they have created an extraordinary artistic partnership, due to a closeness and understanding that is beyond the imagination of most of us. They have worked together throughout their lives, and each of their striking oils on canvas is a true collaboration both in terms of technique and approach – a united response from both artists.

The stunning abstract images that these extraordinary brothers produce are inspired by the overwhelming power of nature. While exploring the effects of light on land, sky and water, they aim to capture a moment in time, a unique and therefore unrepeatable experience. Their intention is to make the viewer aware that in art, as in life, everything is constantly changing. The passion and intensity of each piece reflects both their individual artistic aims and their personal journey through life. Sometimes difficult, often fascinating, but never dull.

Unfortunately we have no new work by this artist at this time. Click the ‘tell me more’ button below if you would like to be informed about new releases from this artist

Philip Raskin

Philip Raskin was born in 1947 and studied at the Glasgow School of Art. He then entered the world of business and became well known as the proprietor of The Inn on the Green, a celebrated jazz restaurant in Glasgow over which he and his wife presided. He did not lose contact with the world of art however, as the venue doubled up as a quality gallery with a full programme of exhibitions and private views. Over time, he has developed a painterly impasto style; using the texture of the paint and the shape of the brushwork, he gives each of his luminous landscapes its own reality, rather than allowing it to be a smooth window onto a world beyond. With a trademark soft palette and dramatic skies, the overall effect magically captures the textures, moods and changeable light of his native Scotland.

Philip is rapidly acquiring a loyal following of collectors both in the UK and abroad. “I tend to paint very private places for the viewer to own and enjoy; no people, no houses, no telegraph poles -just the driftwood of an ebb tide, mist tumbling on a distant hilltop and silence broken only by lapping water and gulls ascending.”

Philip Gray

Philip was born in Cork, Ireland, in 1959. From the age of 5 he loved art, and one of his earliest memories is being tutored in figurative drawing by a family friend, Trevor Scott, the founder of the renowned College of Art and Design in Dublin.

At the age of 16, Philip left school and joined the Irish Navy. Once he had established himself as a naval diver, he began to paint at sea and soon became prolific. He had the great advantage of having a unique perspective on Irish landscapes and seascapes as viewed from the Atlantic Ocean.

The magic in Philip’s art lies in his ability to use his artistic creativity as a natural form of communication. With the extraordinary beauty of the mountainous western island, Ireland, as his inspiration, Philip’s art provides us with the opportunity, albeit momentarily, to remove ourselves from the chaos of day to day life and appreciate the ordered beauty of nature.

After 17 years in the Navy, and with much encouragement from his wife and family, Philip relinquished his naval career and took the bold step of setting up on his own as an artist. His success was such that he has since become one of Ireland’s most celebrated living artists. Philip’s work is sold all over the world and his celebrity collectors include Bill Clinton and George W Bush.

Philip Gray : Infinite World II

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Infinite World II by Philip Gray

Oil on canvas float- mounted in a black frame.

32″ x 32″

Price: £4470

We're sorry, unfortunately this art work is now sold

Ben Payne

Ben Payne has built a reputation for creating artwork, which is fresh, escapist and above all, uplifting. Born in Surrey in 1975, he began drawing portraits and painting as a hobby; by the age of 16 he was selling his work, and he has now developed into a major British talent. Although he is almost completely self-taught Ben is able to respond to challenges and create artwork that is both technically accomplished and highly accessible.

Ben’s high-impact land, sky and seascapes are inspired by the British coastline. He owes an artistic debt to a range of artists, in particular Turner and Whistler. Their influence can be seen in the way he captures the appearance of clouds with such delicacy, while employing a vivid and dramatic palette – a characteristic which lends his work an ethereal quality.

His powerful paintings display a certain innocence, which somehow sets them part from the work of his contemporaries. While his subjects are realistic they often have dreamlike overtones, rendering them an intriguing combination of enchantment and sophistication.

Julie Ann Scott

Julie Ann’s remarkable oil paintings feature intensely coloured underwater scenes in which shoals of fish swirl in a vibrant vortex of light. This light is the unifying factor in all of Julie Ann’s work, originating in the sight of the sun breaking through the misty darkness. This first blissful moment of light inspires the artist from both an aesthetic and a spiritual viewpoint.

Julie Ann grew up in the North of England. After completing her A Levels she set off to see the world and spent an eventful and adventurous few years abroad. After working as a catwalk model in Israel, touring as an actress in California, and travelling around much of Eastern Europe she returned to England and settled in the Lake District.

Living in one of the UK’s most beautiful national parks proved a significant experience for Julie Ann. 2000 was a landmark year for her: having excelled in art at school, she began to paint once more, and set up her own studio in Kendal where she started to create her dazzling oils.

Since then she has not looked back and her work has been exhibited to great acclaim across the UK.

Bob Dylan

dylanBob Dylan is one of the most influential and, at times, controversial figures in the music world of the last five decades. Over the last forty-six years he has released forty-four albums and written over five hundred songs including ‘Blowin’ in the Wind’, ‘The Times They Are A-Changin’, ‘Like a Rolling Stone’, ‘Knockin’ on Heaven’s Door’ and ‘Make You Feel My Love’. Selling over 110 million records around the world, his songs have been covered more than three thousand times by artists as diverse as Sonny and Cher, The Byrds, the Rolling Stones, Duke Ellington, Jimi Hendrix, Keith Jarrett, Guns N’ Roses, Stevie Wonder, Rod Stewart, the Red Hot Chili Peppers, Bob Marley, Pearl Jam and Neil Young. Bob Dylan’s music has been recognised and honoured with many awards. He received an honorary doctorate of music from Princeton University , New Jersey in 1970 and from St Andrews University , Scotland in 2004. In addition to winning numerous Grammy Awards, his song ‘Things Have Changed’ from the film ‘Wonder Boys’ (2000) won him an Academy Award in 2001 and his last album, ‘Modern Times’ (2006), entered the charts at number one in America, and charted Top Five in over twenty-one countries around the world.

From his performances in Greenwich Village coffee houses, festivals and rallies in the early 1960s, to his stadium concerts of the 1970s and his subsequent worldwide tours, Bob Dylan has built his musical reputation on the strength of his live appearances. He has played no fewer than one hundred shows a year since 1988 and has performed alongside other major artists such as Joan Baez, Tom Petty, George Harrison, the Grateful Dead, Eric Clapton, the Rolling Stones and Bruce Springsteen.

Although Bob Dylan is best known as a singer and songwriter, he is also a writer, film director, actor, radio broadcaster and artist. His experimental collection of writings, ‘Tarantula’, was published in 1970 and his autobiography ‘Chronicles: Volume One’, released in 2004, became an international bestseller. Bob Dylan has both directed and acted in a number of films, making his first appearance in ‘Pat Garrett and Billy the Kid’ (1973) and more recently in ‘Masked and Anonymous’ (2003). A collection of Bob Dylan’s drawings and sketches, made while on a tour of America , Europe and Asia between 1989 and 1992, were published in ‘Drawn Blank’ in 1994. These drawings were re-worked and first shown at a museum exhibition in Germany in autumn 2007, and at Halcyon Gallery, London in 2008.

In April 2008, Dylan received a Special Citation Pulitzer Prize ‘for his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power’. A major exhibition of selected works from ‘The Drawn Blank Series’, together with new re-worked versions, and a magnificent collection of Signed Limited Edition graphics are premiered across the UK this summer.

Alexander Millar

I was born in 1960 into the small mining community of Springside a few miles outside the town of Kilmarnock on the west coast of Scotland. Life within the small Scottish village was very traditional and although I grew up in the 60′s era it felt more like the 40′s. My formative years were spent in the company of old men dressed in dark suits smoking woodbines partnered with large missile-shaped women decked out in headscarves and pinnies. My father worked for British Rail and I got great pleasure from simply sitting in the atmospheric steam filled stations which even today I find are the most romantic, nostalgic places to be. Many of my most romantic paintings are set within that very atmosphere – I guess I’m just a big old fashioned nostalgic romantic at heart! It therefore comes as no surprise to many that my favourite film is ‘The Quiet Man’.

I escaped school in 1976 and eventually fled Springside to set myself up in Newcastle-upon-Tyne. This jump from sleepy peacefulness to hustle and bustle was like going from the frying pan straight into the fire. I found Newcastle had, and still has, its fair share of characters locally known as ‘Gadgies’ which fed me much inspiration later on in life when I finally discovered my destiny as an artist. After a number of different jobs I finally settled down in 1988 to become a professional artist. I am completely self-taught and after many years of developing my own style in art I turned to images remembered from my childhood and used the local Tyneside ‘Gadgies’ as models in my paintings.

The past couple of years have been especially exciting as my work has taken on a life of its own. Sales have gone through the roof and everyone seems to be taking notice of these solitary figures I create. I’m continually surprised to see the effects my paintings have on people, on many occasions I’ve had women moved to tears absorbed by a painting that evokes memories of their father or grandfather.

After a number of sell out exhibitions one of my paintings was entered in the Daily Mail’s ‘Not the Turner Prize’. Ten thousand works were entered and my painting was chosen as one of the finalists which were exhibited at the Mall Galleries in London.

Ideas & Inspiration

I am fortunate enough in that the things I love to paint are right in front of my eyes everyday. The hairs on the back of my neck still stand on end every time I see an old ‘Gadgie’.

I love the movement of the street drunk; however he remains a difficult subject to paint – never staying still for any length of time. The real skill comes in trying to capture the just off centre stance of these vertically challenged individuals. The gossiping old ladies standing on street corners, the tired old guy wandering home after a long hard day at work and the wee dog cocking its leg against the street corner are all appealing and interesting to me. I see them all as different choreographed parts in a sort of street ballet.

One of my prize possessions is the oldest, ricketiest, battered bike complete with leather saddle and rusty springs. I bought the antique (I use the term loosely) at a second hand shop for the princely sum of £30.

It is a priceless prop that features in a great number of my paintings.

From Palette To Picture

After I’ve chosen a figure from my many sketches and photographs it is transferred to my canvas and blocked as a dark silhouette. Each layer of paint is then added gradually to separate tones; the figure is almost complete before the background colour is added.

Having lived in the northern half of Britain all my life I try to capture the subtle light that is particular to that part of the country. The under painting is predominantly blue and then each subsequent layer added is a touch warmer than the last and lifts the painting giving the misty almost ghostlike quality to the background. When this is complete the dark figure leaps out of the canvas. To finish off and give the figure movement I leave the painting for approximately a week and then I take away some of the background colour and feather the legs and soften any harsh edges. I’ll leave the painting in view for a few days in order to see if any adjustments are needed – they usually become apparent to me by then.


A Day In The Life.

I start work, if you can indeed call it that, around 9am although I am not disciplined at all. I will stare at the canvas for a while then mix some colour on my palette, which is a beautiful large kidney shaped one made from solid mahogany and is a joy to mix on, before putting brush into action. I live in a small stone cottage in picturesque Northumberland so each layer of painting is punctuated by a stroll in a nearby field.

I always work in natural light so there is nothing better than being able to sit outside, despite the cold, with a glass of wine, whiskey or something stronger like Earl Grey Tea with classical music playing in the background. It’s at times like this when inspiration kicks in and getting into a flow becomes easier – the subconscious takes over and the painter and the painting become one. I try to make this precious time last as long as possible as I’m able to produce a great number of canvases with the minimum of effort. When this creative spark wears off it is then time for another long walk!

Steve Johnston

Born in Glasgow in 1956 Steve grew up in Dumfries and studied at art school. Upon leaving, he became an apprentice electrician for a brief period, as he was uncertain of where his artistic path led. In 1973, Carlisle College offered him a placement, where, during the second year, he opted for a change in medium, preferring photography to painting. He found black & white formats extremely inspiring and exciting to work with, seeing himself in fact as an artist but utilising a camera rather than paint.

Upon leaving college he moved to London where he did freelance work for teen magazines, which led to work for Vogue in 1977, where his work was included in the ‘Pink Punk Book’ published in 1978. This style of photo launched the first issue of i-D magazine in 1980, where he worked for the following few years. In 1991, when photography no longer became inspirational for him, he started painting seriously again concentrating once again on the medium that he had originally embraced. “It was then that something clicked and I have not looked back since..painting is my life.”

He is always drawn to figures that create a great shape. Details such as ‘how’ someone is standing or ‘what’ they are doing come into play afterwards. It is the graphic shape of the ‘body mass’ that inspires the first ideas. Certain images can unlock powerful emotions which are separate from what the actual content of the picture could create if focused on in more detail.

He attempts to take the voyeur somewhere with a sense of the familiar that has an almost ephemeral and ethereal quality, rather than somewhere specific. With the same reasoning, he does not depict figures to be anyone in particular. “The aim is to portray an essence and emotion rather than a well defined and precise person or location, as I am not interested in set narrative pieces.”

Steve always takes the shape of his figures from photographs, generally using side or back views to create a more anonymous character. For this same reason he prefers minimal backgrounds.

Using a mixture of oil and acrylic on the same canvas, he likes to experiment and play with colour to draw as much emotional response from the image as possible. The backgrounds are always in acrylic, whilst the figures are always in oil. This is so the oil figure can be worked on in a way that will make it stand out from the background.

Sarah Graham

I remember staring out from the front gate as a child watching the other children playing in the street wondering where my future would take me. Since graduating in 2000 I have been practising my art as a full time career, and I am now beginning to realise that the dream of spending my life painting has become a reality.

I was extremely conscientious at school, always trying my hardest and as a result doing well in most subjects. Art was no exception, but it was different, it came naturally to me. I didn’t need to try, and more importantly I loved it. At home my sister and I were constantly painting, drawing, or making something, the desire to create was a driving force in me that’s hard to explain. Fortunately our dad spotted this passion in us at an early age, and would buy us endless art supplies. We were a working class family, with little spare money to spend on expensive past times and holidays, so days were dominated by art and creativity.

After school, I studied for a foundation course in art and design, followed by a BA (hons) in Fine Art at De Montfort University, Leicester. Whilst studying I organised a public exhibition with my other art students on my course. At the time I was working in a pub, and realised that the empty floors above would make a superb gallery. So with the help of my fellow students (and permission from the brewery), I set up a space from which I began selling work. This experience was invaluable as it helped me to realise that I could make a living from my art. From that point onwards I have been consistently exhibiting and selling my work throughout the UK and abroad, aided by part time work in art shops and galleries. I now live back in my hometown of Hitchin, Hertfordshire, and for the last 2 years I have been painting full time, and now with the support of Washington Green I intend to build on this success.

I am entirely motivated by colour, and as a realist painter, along with being a big kid at heart, this inevitably lead to the subject matter of toys and sweets. It allows me to explore extremely vivid colour, and at the same time manipulate the structure and form of an image. Having trawled sweetshops, markets, eBay, and my mum’s attic, to find my subject.

I start by taking a staged photograph in my studio. Although I enjoy photography, painting is my first love, and I may take as many as 200 photos of a subject before I’m happy with one. This has been made possible thanks to my digital SLR camera, and my Mac (which along with my easel are my best friends in the studio!)

I begin the painting process by translating the image onto canvas by lightly sketching it in yellow paint, followed by a more detailed under painting which acts as a map for the final painting. During this process, subtle changes naturally occur, as I do not want the painting to look overly photo real; it is important to me that in my paintings you can see it has been hand crafted. There is one other reason I paint these subjects, and it’s quite simply that they are fun and put a smile on my face!

My dad bought me my first oil paints when I was about 8 years old, and I fell in love with them. Throughout school and university I explored other media, but was always drawn back to oils. It was the consistency, and buttery feel of the paint, but most importantly the brilliant colour (that attracted me to always return to using oils). When mixed with a medium, oil becomes even more malleable, and allows me to blend with large, soft brushes, imitating the blurred areas of the photograph I’m working from, these being usually backgrounds. With bigger pieces, this can actually become a very physical and frenzied process, sweeping the paint back and forth in broad strokes until it is sufficiently blended in, wiping away excess paint from the brush each time it leaves the canvas. The more dramatic sections in focus are created using precision brushes, a steady hand, and a lot of patience!

I get to the studio around half 9, as there’s no reason to leave earlier just to get stuck in the traffic – Honest! The studio is a short drive away to a nearby village, just outside Hitchin. It’s in a beautiful location that I find very inspirational. My studio is in a barn, which has been especially renovated for me, and I’m lucky enough to say it is my dream space. I’ve had various studios in the past, from rooms above print shops, to my old bedroom, so this is by far the best. I like being able to get away from home, especially to such picturesque surroundings, and just immerse myself in my work. It’s hard to know how long the day will be; I’m entirely at the mercy of how well the painting goes that day. If it’s not going too well, that’s when this job gets tough, but I have always found by persevering, and with my boyfriend Ben’s critical eye, who’s sometimes brutal honesty can be hard to swallow, I’ll get there in the end. The first thing I do is put the radio on, or something from my ever-growing music collection. These keep me sane, music is a big part of my life, I try to go to as many concerts as possible to see the musicians and bands I spend all day listening to. With that and a copy of the Times to keep me up to date with the outside world, I’m all set to get on with my work, and genuinely believe it’s one of the best jobs in the world.

Ron Bolt

RON BOLT was born in Toronto, Canada in 1938. He studied at Northern Technical School, Toronto, graduating as a Gold Medallist in 1957 and then went on to study at Ontario College of Art. In 1961 Bolt graduated as an Associate of the Royal Conservatory of Music in Toronto.

His career spans close to 40 years and includes over 70 one man exhibitions. Participating in group exhibitions in public museums in Canada, the U.S., Mexico, England and Japan, Bolt has continued the powerful tradition of landscape painting in Canada although with a slight shift in focus. For Bolt, it is the coastal and river waterways that fascinate him – a wilderness that he describes as “sacred”. His paintings, drawings and prints can be found in private, public and corporate collections around the world. Among his many commissions are murals for the Ontario and Canadian Federal governments, two books, and a serigraph for the Royal Ontario Museum and the “Fundy definitive $1.00 stamp for Canada Post. His commitment to furthering a wider appreciation of the visual arts has involved him as co-founder of ART magazine, and founding member of Visual Arts Ontario. He was elected to the Royal Canadian Academy of Arts in 1986 and served as its 27th President from 2000 to 2002. Bolt was awarded the Canada 125 Medal in 1992, the Queen’s Jubilee Medal in 2003 and the RCA’s Centennial Medallion in 2005.

Rob Ford

When people ask me, “When did you start painting? or, “What got you interested in art? I have to reply, that I simply don’t know! It’s something that I have always done and always felt passionate about. When I look back at my childhood, I can remember wanting to stay late at nursery and primary school to finish my painting and if I remember correctly, I took the specialised art of ‘drawing on walls’ to a new level. Nothing was safe, rugs, carpets, loo rolls and much to my parent’s dismay, a fantastic collage of fruit peels on a warm radiator. Despite this my family have always encouraged and supported me, which was possibly the most important factor in me becoming an artist.

During my years at Felsted in Essex, my main interest was always in the art room. Although I was by no means the best painter or draughtsman of the year, it was something that I felt confident with and had great enthusiasm for.

After leaving school I continued to paint and draw and developed an interest in the history of painting. This interest led me to apply to my local college to study an art course. Rembrandt, Van-Gogh and Delacroix were particular favourites of mine.

Although at college I had the opportunity to spend each day drawing and painting, I found it frustrating and felt pressured into finding the appeal in modern art. Pop art, abstract expressionism and the like were the expected food for thought and words such as ‘Neo-Classicism’ and ‘Pre-Raphaelite’ were as good as banned. This experience is something that I have shared with other artists, and perhaps it is not a bad thing as by refusal, my interest in the history of painting was spurred onwards, and I would now place Mark Rothko and other abstract expressionists high on my list of favourites!

On completion of my college course, I really wanted to find some sort of employment that would make use of my skills. Unfortunately I couldn’t afford to take my education any further, so whilst still drawing and painting at every given opportunity, I had a go at many jobs including removals, parcel delivery, waiting, gardening, office work etc. This went on until one day, whilst holding some art classes at a local primary school, I came across a small local business who specialised in Theme restaurants. My sights were set and I continually pestered the manager until he gave me the opportunity to design a mural for them. Before long I had secured a job doing what I had always wanted to do – painting. I stayed with the company for the next few years after which I found the confidence to start painting for private sales. I set up a studio and began working from home, whilst still producing commercial work, murals and large-scale commissions for many different businesses. I could happily spend every spare minute devoted to my fascination of art. When people ask me if it’s hard to make a living from a hobby? I simply reply, “Painting has never been a hobby, it’s just what I do!

Ideas & Inspirations.

Ideas and inspirations come from just about anywhere, from the ring left by the morning ‘cuppa’ to the light of an evening sunset.

With my most recent landscape paintings, the idea is a simple one. The inspiration comes from my local landscape. When I first moved to the east coast I found the landscapes frustrating. Where are the landmarks? Where are the mountains that I loved as a child in Wales? Where are the rushing streams and the wooded glens?

There are none of these where I live now. The landscape has been almost entirely claimed by agriculture and modern housing developments dot the skyline, but now I have learned to love the land that surrounds me. The changes in the colours throughout the year from partly flooded fields of flint and mud in winter to seas of billowing wheat fields in the summer. I have come to realise that it is not what you see, but how you see it. A line of trees preceded by an open field can be the most haunting of landscapes, when for just a moment, maybe from the corner of your eye the light throws deep shadows and there is possibly a small spark of something eternal and ultimately peaceful and then almost as quickly as you noticed it, the sky moved and the memory of that is all that you have.

My affinity towards the effect that sunlight can have was sparked while doing a commission for a local charity. I was sitting on the bank of a river, desperately trying to paint and draw a lock which the charity hoped to restore, (being an admirer of John Constables’ paintings I had leapt at the opportunity, as it was from this very spot that he had painted ‘the young Waltonians’) but the weather was against me, it rained, then it snowed, hailed and rained again and above all it was bitterly cold. Suddenly though, without any prior warning, the sunlight burst through the clouds and lit the landscape in a deep gold colour. Where I had previously been looking at cold greys and blues, pinks and oranges had suddenly replaced them. Greens became vivid and there seemed to be a sense behind what I couldn’t see before. Then just as I reached for a new palette, it was gone and the rain returned. I have been trying to paint that moment ever since!

From Palette to Picture.

When at work in the studio I like to keep things as simple as possible. I choose a basic palette of primary colours, burnt sienna and white, the last two I seem to use in vast quantities. I prefer to work in oil paint, not only for its well-stood tradition, but its ease of use. I rarely have patience that is required for watercolours and have developed a kind of love-hate relationship with acrylics. I greatly admire people who work with these mediums on a day-to-day basis.

I prepare the ground upon which I am to work and finish it in sienna, sanguine or an ochre shade. This serves two purposes. Firstly, I find the task of starting work much easier; there’s nothing worse than the feeling of being confronted by a large pure white surface. Secondly, I like to use these ground colours to shine through the layers I place over them. In landscape paintings I use very little red in my palette and lay thin glazes of grey and blue over a coloured ground creating the ‘purple-pink’ effect. The foreground, again has to be under painted, but I may lay a thicker ground by using a dry-brushing technique in ultramarines and sienna or simply applying the paint in thick lashes by brush. This helps to build the texture. I build the foreground to hopefully give the impression of a breeze blowing over a field or light dancing on an evening scene. I use a combination of techniques to create the moods and light in my paintings. The only problem is, I keep running out of paint!

Indian Inks

These Ink Drawings are part of a body of work that I have been ‘playing ‘ with for many years now, It’s a technique that I started using whilst at art college, its fast and effective for making quick studies and served well at grabbing preliminary drawings during Life Courses.

Although most people know me as a landscape artist, Figurative painting and drawing have always been very important to me, As a hobby, I play guitar and like to mess around with old Jazz music and in this endeavour as I am sure most musicians do, I practise scales and I see drawing and especially life drawing as scale practise for artists, it is a fundamental building block for all of my work. But recently my Ink drawings have taken on a new life for me, becoming a project in their own right.

The technique itself is basic, I use Bamboo sticks of various thicknesses, shaped with a sharp blade into a crude dip pen and Indian ink, or homemade inks using various pigments, I have found that Different thicknesses of pen tip work in different ways with various inks and supports, many of the drawings on display here at Breeze are made with Indian Ink on fine quality cartridge papers, some I have made brief sketches with Charcoal and cloth and then laying the lines in ink over the top of this, The charcoal works as a kind of resist which adds a different dimension to the finished work, its even more messy than just ink, but part of the appeal of the technique is the ‘messiness’. Often, If I am honest the splashes and runs are intentional, but occasionally the medium lends its own’ happy accidents’ sometimes a run that is unintended can make me re-evaluate the drawing and often inspires a new approach. I work vertically to allow the ink to run.

The aim, in essence, is to create a drawing that is a convincing portrayal of a figure, be it a solitary person or group scene in as few marks as possible, Its often easy to get carried away and add more and more, but the drawings that work best are more often than not, the simpler ones, they have their own dynamic, part luck, part over confidence. I wish that I could say that I can make these line drawings in one hit, but, for many of them they start life as charcoal sketches which I will work on for several hours, once I am happy with the basic structure I will make several line drawings in pencil, to learn the shapes that I want to make with the ink, once I feel comfortable, I will make the ink drawings, the application of ink to paper is fast, it has to be. But in a strange way, an ink drawing that takes 5 minutes to make has been many hours in preparation.

Although it is not an accurate way of drawing and very unforgiving, I love the challenge of making portraits in this way, they don’t always work, but the series of musicians that Breeze are showing are amongst my favourite works that I have made in this style, the subject is precious to me and the characters within the drawings are my personal musical ‘heros’ The gypsy players in particular. These drawing are made from sketches I have made during visits to Gypsy festivals in Europe. There is a small narrative, a story of a guitar, an instrument built by a great craftsman, Killy Nonis, that was passed around Gypsy Musicians, with great reverence, I was able to follow this guitar as it passed from player to player, each in turn marvelling at its great quality and tone, This is a story that I will continue to work on, so, with a few more happy accidents I will be adding to this body of work over the next few months, years.we’ll see. Art is a journey for me and who knows where it will lead next.

I hope you enjoy looking at these drawings as much as I enjoy making them.

Paul Kenton

A pivotal moment in the young Paul Kenton’s life was a move from his birth place in Derby to the West Country when he was eight years old. As a teenager he learnt to surf on the wild beaches of North Devon and as a keen surfer he has travelled the world realising inspiration for another passion; his art. Now settled in Ilfracombe with his Brazilian partner, Alexandra and two young daughters, Kenton still surfs when he’s not in the studio or enjoying the hectic pandemonium of family life.

Paul showed an interest in painting from an early age; while others wanted to be doctors or pilots he clearly remembers telling a friend that he wanted to be an artist. This was cemented when, at the tender age of twelve, he won a national colouring competition – winning a prized set of paints. He continued to draw and paint all through school becoming proficient in watercolour but was disappointed not to be awarded a place at Art College due to his English grades. His disillusionment drove him in another direction and he studied the rigid disciplines of industry and was awarded a Bachelor in Engineering from Stafford University. After University he worked as a draughtsman for several years while still painting in his spare time.

In 1995, supported by a grant from the Prices Youth Business Trust, he took the plunge and started to paint full-time and began exhibiting. Working in acrylic and oils he took inspiration from his world wide travels; the cityscapes, cafes, harbours, bridges and seascapes. Kenton’s style has evolved over the past ten years into a free-flowing fusion of various media, capturing the essence of the location rather than “the fiddly details of what something looks like” creating an atmosphere with free shapes, dripped lines and colour.

The younger ‘Monet’ has always been a hero of mine ever since I discovered art as a teenager. I love the way his paintings evoke a mood (in the same way a short film clip does) rather than simply being a physical representation of a scene. In the same way I see my paintings as a short film clip rather than a photographic still.

As I am a keen surfer I love the sea. The ocean has many moods; the way in which water and light interacts at the end of the day fascinates me. The recurring themes of reflection and movement frequently appear in my new work. Equally I love capturing scenes late in the day and into the early evening due to the last drops of warming light filling every available surface. My Cityscapes reflect the many moods of manmade landscapes; I find it exhilarating to express furious movement, artificial lights and the vibrancy of a busy City centre at night as well as the subtler moods of a misty dawn at the same venue.

I use my photographs and rough sketches to rekindle emotions and feelings of a particular scene; sometimes I even scribble odd words or phrases down to help this process. I like to paint my canvases flat and have them a couple of feet from the floor so I don’t have to bend over too far. I feel quite energized by the blank canvas; it’s a mixture of excitement and anticipation – similar to the feeling you get when you ‘take off’ on a blank canvas of a wave.

I don’t sketch anything out; instead I simply dive in feet first with huge brushes dipped into large pots of paint and drip on an outline before throwing the paint on. I love the freedom and am so pleased with the effects of this technique. I build up each layer with broad brushstrokes and drip colour to create form until I can sense the atmosphere I want. To keep the piece fresh I try and stop before it gets too fussy. I value the opinion and feedback from my partner Alex as we have often been to the places together and our moods and views are often represented in the pieces.

My day starts early when my youngest wakes us up, usually around six o’clock; I need a cup of tea before anything else. I have an early swim two or three mornings a week clocking up a couple of miles in each session, so I either nip off to the pool or help with the girls’ morning routine. After breakfast I like to do the school run to Woolacombe and then I usually take the dog for a walk on the beach, if there are waves I like to have a surf before the crowds arrive. I love the freshness of mornings, this is when I plan my day and start to think about the piece I’m working on or develop some fresh ideas. I have a small studio in what used to be a railway building, where I can escape and really concentrate on my latest piece.

I paint most days and try to discipline myself to regular hours but it doesn’t always work out that way. The studio does have a music system but it doesn’t seem to affect my paintings whether I listen to music, the news or a play on radio four; sometimes silence is nice. I try to finish on time so I can spend time with the girls as we always try to have a family dinner together. I’m not a late night person really but sometimes we watch a movie or have friends over in the evenings.

Paul Horton

I wanted to be an artist for as long as I can remember, on recalling my childhood it seems I was always drawing and painting – it became the very fabric of my life. I owe my art teacher so much, he made art such an enjoyable subject and I spent many happy hours in the art room. The freedom, guidance and encouragement received during my formative years set the foundations for my artistic career.

I studied drawing and painting at Bournville School of Art, specialising in life drawing and history of art. I also set out on a career within the printing industry, managing to combine this with an ever-developing style of work in both fine art and illustration, selling and exhibiting my work at regular intervals.

It wasn’t until the autumn of 1997 that I turned professional, dedicating for the first time ever, all of my energy into my art. I held a major one-man retrospective exhibition in the summer of 1998 entitled ‘All in a Life’s Work’, which was a personal selection of paintings representing my artistic journey. This innovative exhibition also featured a live concert by rock star Steve Harley, who has enjoyed major success, including the classic No. 1 ‘Make Me Smile (Come up and see me)’. I have always found inspiration through words and music and the creativity and poetic quality of Steve Harley’s music has strongly influenced my artistic development. I am honoured and delighted that such a talented and inspirational figure such as Steve has supported my work over so many years.

‘The Journeyman’ was the first of my paintings to combine a character within a street scene. This has lead to a new style of subject matter based on street life, whether reflecting everyday happenings or capturing the nostalgia of an industrial age. I like to think there is a poignancy and spirit within these works.

Growing up in Birmingham in the sixties and seventies has given me so many memories to draw upon; it has given me my identity and working class ethic. The working man in my industrial street scenes is an iconic figure reflecting the industrial age, but it could be in any city or any town.

I travelled extensively throughout the U.K. for the majority of 2002. My ‘Homes & Hearts’ tour launched my work to many galleries across the country, it was an absolute pleasure to meet so many wonderful people, they have become a great source of inspiration to me.

I am constantly pushing myself in new and exciting directions. As well as my drawing and painting I also lecture art to special needs students based within the community. This is a challenging and rewarding addition to my busy life and a chance for me to give something back.

Art is my life, a passion within me. I feel that I am on a journey, a crusade creating new and exciting images, with diverse influences adding a unique and inspired view of the world. As I started painting so young I cannot recall a definitive point of inspiration, but from about the age of ten I was inspired by the Pre-Raphaelites. My early paintings were figurative studies in the Pre-Raphaelite style; I have always enjoyed the challenge of drawing and painting people. Life is a mosaic of different memories, we all experience so many emotions from great joy to deep sorrow, from the nostalgic to the magical – these experiences are the source of my paintings, offering universal themes that I hope will appeal to popular imagination. My distinctive paintings are informed by a love of colour and strong composition influenced by artists such as Degas, Chagall and De Lempicka.

As much of the original inspiration for my work was derived from puppet theatre, the natural progression was to have some made. I collaborated with Craig Denston, one of the countries leading puppeteers and designers. I then decided it would be great fun to bring them into the gallery environment as part of my ‘Homes & Hearts’ tour, which added a diverse element to these exhibitions.

The wonderful assortment of characters that appear in my paintings take inspiration from a number of sources including illustration, story books and theatre. There is often a narrative element to be found within my work, people interpret my characters in so many ways, take the Victorian man for instance, is he Jack the Ripper, a magician, or a Phileas Fogg type of character? I like to keep his identity a closely guarded secret, hence his title the ‘Man of Mystery’.

The tramp is one of my favourite characters, he is not really anybody in particular, but there is a touch of Charlie Chaplin about him. I wanted to introduce a character who lives in the modern world. The little tramp is a figure of optimism, looking to a future full of hope. When explaining my work I feel it’s best not to give everything away, leaving it open to interpretation.

So many ideas and images enter my mind that I have to constantly sketch out these initial images, or make frantic notes for future reference; this may include costume design, character detail or background scenes. The painting may be inspired by words, such as a Shakespearian theme or even based on my own poetry or short stories. Working and playing with these ideas and inspirations is critical to the success of any of my paintings. I do little preparatory work, as I like to throw myself into the actual painting, full of enthusiasm and working from my imagination as much as possible.

Having chosen my subject matter I do a brief sketch, working out a strong composition and design, I also look at the colour scheme giving myself an impression of how the final painting may look. I work on grey pastel paper, which I mount onto board; this allows me full control of the tonal values. I use a variety of different pastels, blending and drawing on the surface of the paper, creating the vibrancy of colour or atmosphere inherent in my work.

You give part of yourself in every painting you produce, each image stands or falls on its own merits. I try to produce the best I can at any given time, I assess and reassess the painting at various stages. I prepare a temporary mount, to get a feel of how the painting will look in the gallery. On completion I have a great sense of achievement in creating something from nothing – from a world of imagination.

I can be found in my studio most mornings at around 6:30am, spending a few minutes assessing the previous days painting. With a strong cup of coffee to hand I adjust to the new day and get myself into the right frame of mind to begin the days work.

I teach art to special needs students as often as I can, not only is it extremely rewarding I really enjoy this time out of my studio. If it’s a studio day, I like to put in long hours, giving myself regular breaks as and when I feel the need. This is often governed by how absorbed I have become in the painting itself. I often have music playing in the background and vary the atmosphere with occasional sessions of classical music or something more contemporary. At other times I can work in complete silence, but I do love music, which is a constant source of inspiration. I set myself targets to keep up with the demand for my work, I have been known to burn the midnight oil on many occasions, but on average I work until around 7pm.

I try to spend as much quality time as possible with my son Mark, who is in his late teens. He looks forward to seeing my days work and I value his reaction, assessment and support – we enjoy each other’s company and he is the most important part of my life.

In the evening I like to relax with a glass of red wine, and maybe the muse will arrive and bring with her new ideas and inspirations for future paintings.

Paul Hedley

Paul Hedley has been painting ever since he can remember, although his style has changed and developed over the years. He was fortunate to have studied at Medway and Maidstone Art Colleges, where he received a thorough grounding in traditional techniques of drawing and painting. With life and art inextricably linked, Paul paints with compulsion, subtly influenced by his environment and daily experiences.  He has always admired the work of the great French painters Edgar Degas and Édouard Vuillard and their influence can be detected, to some extent, in his current subject matter of figures in interiors. Paul is technically masterful as a painter and draughtsman; he works with a limited palette of colours thereby allowing him to emphasis tonal values and relationships within the painting. His paintings are emotionally uncomplicated and unpretentious; they are a distillation of a moment in time. As Degas wrote ‘Art does not reach out. It sums up.’ 

Paul likes to work in natural light, from sketches and photos often listening to classical music.  He starts by creating numerous preliminary sketches and when he is happy he starts to lay in tone and colour, generally working in acrylic on canvas.  His drawings are produced in a ‘classical’ manner on a toned ground in chalks often combined with watercolour and gouache.   Paul lived in France for a number of years and currently lives in the south west of England.  He is married to the artist Dianne Flynn. Paul has paintings and drawings in numerous private collections and has exhibited throughout the country; he currently exhibits in London, the Cotswolds, Yorkshire and New Zealand.

Nick Potter

“Draw me some jungle animals. said my infant school teacher. At the tender age of 6, I was excused from assembly for a whole week in order to draw animals for her ambitious ‘Jungle Frieze’. I drew and drew and the results were impressive. The curious combination of lions, tigers, kangaroos, pandas and chimps plus many more assorted animals inhabiting the same jungle didn’t seem to worry her as her frieze was fully populated.

I was born in Chesterfield, Derbyshire (of ‘crooked spire’ fame) in 1959 and have been told I could always draw. When I was young, I was lent a beautifully illustrated edition of ‘The Jungle Book’ by a neighbour. For months I religiously copied the exquisite pen and ink drawings of animals which adorned its pages. I made a portfolio from card and wrote ‘NICK POTTER, ARTIST. KEEP OUT ‘on the front. It seems all I have ever wanted to be was an artist. Unfortunately life doesn’t always give you what you want, well not immediately anyway.

I enjoyed a comfortable and happy childhood. My father worked in a steel factory, my mother was a teacher. Both worked hard to provide for me and my two younger sisters. During my secondary education at Netherthorpe Grammar School I engaged in a wide variety of activities and sport. As a fairly strict school, blazers were to be worn at all times, except for sport and in the art room. I was very good at games and art. I was the only pupil in my year taking ‘A’ level Art. I therefore received one to one tuition from my art teacher Bob Widgery, a kind and talented Welshman who was a friend rather than a teacher. Our paths still cross. He was very encouraging and taught me to observe rather than see. My then girlfriend Gillian was a talented artist with a style of her own. She taught me lots including the art of watercolour. I sold my first painting to my headmistress for £10. She wryly suggested I might invest some of it in a razor!

Despite attaining an ‘A’ at A Level I was encouraged to go to University rather than Art School as this would give me ‘proper qualifications’ I went to Leicester University and read Archaeology. Although I continued my art most of my time was taken up with student type activities such as beer, girls and sport- oh, and of course study.

On leaving University I did a P.G.C.E course and reluctantly went into teaching in Chesterfield. This didn’t work and I got a job as an Educational Publishing Rep. My wife and I then moved to the beautiful village of Great Bowden in the heart of the Leicestershire countryside. Living in the country and fuelled by frequent visits to Cornwall, Scotland and the Lake District I became much more interested in Landscape painting. I sketched prolifically and painted watercolours and even exhibited at various galleries and in exhibitions. I longed to paint loose watercolours like Edward Seago or Edward Wesson but failed. My style was more like a cross between James Fletcher-Watson and David Bellamy. I became very frustrated, despite illustrating a couple of children’s books and a cookery book.

In 1988, when my two children were young I moved back to Derbyshire. The responsibilities of parenthood and a mortgage have always made me cautious. Even when I was made redundant I still found the need to get another job. When my father died suddenly in front of me and my son Tom, it made me aware of the fragility of existence. I ached to do something more with my life. My frustration affected my relationships and eventually my wife and I amicably divorced. I bought a small cottage, turned the main bedroom into a studio and painted. I discovered the vibrancy of silk paints and used them like watercolours. My new partner, Natasha, was very keen for me to use my artistic talents. We bought a house together and she set up a company called ‘Altered Images’, selling my paintings and cards to outlets around Derbyshire. My youngest son, Dylan was born in 2001 which complicated things but my work proved to be very popular. ‘Treeline Gallery’ in Bakewell, gave me my first real break with a one man exhibition. I exhibited around 70 pictures, had a great preview and sold some paintings.

In 2003 Natasha and I had the opportunity to become partners in our own gallery, a dream come true. We launched Charisma Gallery in Matlock, Derbyshire.

I sold a lot of paintings and hundreds of cards in the gallery. Selling work to strangers in your own gallery is a real thrill. At this time I began to paint in acrylics on canvas with some success. Natasha ran the gallery. We made a lot of artist friends, held previews and exhibitions and attended events such as The Manchester Art Show. My eldest son Tom and daughter Alice helped us in the business. The success of my work in the gallery encouraged me to approach other galleries. I recently had work in 16 galleries from Scotland to Cornwall. Selling work in other galleries gave me a lot of confidence, as did the constant support of family and friends.

After experimenting with a new mixed media technique, I was encouraged by an artist friend to submit work to Washington Green. I had never thought of my work as being commercial but was excited when asked to show my work to Glyn Washington and even more excited when he liked it. I am delighted to be given the opportunity to show my work to a wider audience and to see my work in print. Thanks to Washington Green my dream of becoming an artist has been eventually realised.

Ideas & Inspirations.

I love wild landscapes. It is so easy to take the landscape for granted but open spaces are becoming more and more precious as man puts pressure on the earth’s resources. I love all landscapes from the flatlands of Norfolk to the wild coasts of Cornwall, Pembrokeshire and Northumberland; but I particularly love wild mountain landscapes as found in Scotland and The Lake District. Each of the elements in my pictures is important to me:

The Moon
Ancient beliefs that stars and planets were gods and their movements determined the fate of everything on earth.

A Cancerian by birth date; my sign is ruled by the moon, constantly going through phases-light to dark and everything in-between, being ruled by the environment, which can make or break and alter my moods.

My feelings are close to the surface yet often hidden beneath a hard exterior shell. Emotions run hot and cold, they ebb and flow like the tides-ruled by the moon.

The only natural satellite of earth, the moon is cyclic and has phases.

It is the only other planet to be visited by man.

It is the closest planet to earth and is linked with mythology, mysticism and love. Its gravitational attraction causes bulges on the earth’s surface.

This push-pull effect, affects the water more than the land and causes the movement of the tides and the weather.

It has a pale reflected light both from the sun and the earth and has a dark side.

The full moon is the beginning of a cycle or the end. The circle is a satisfying shape in the sky.

The Trees
Ancient and slow growing, trees are a link between earth and sky with roots and branches. A living thing that is important for the environment. A cycle of life that lays dormant, then gradually bursting forth with life. Sadder winter trees, bare and skeletal yet not dead- even in the dark a promise of new life.

Tall forming patterns in the landscape, offering shelter, sturdy yet vulnerable, flexible yet fragile.

The Fields
I have always been fascinated by our ancient past, much of which is buried. I have an archaeology degree. I have studied field patterns and settlements from the air which are not visible at ground level. The earth holds the secrets to our planet’s history; its layers are a historical calendar.

As the surface of the planet it suffers exposure, erosion, deposition. The surface has been worked by man for centuries, it has been scarred by man some times irrevocably, but left it often reclaims.

The fields in the landscape provide patterns, colour, texture that is touched by man yet not tamed.

Mountains
Primeval and ancient, they are the result of massive upheaval in the earth. The earth’s layers are exposed.

They are isolated, rugged, textured and mostly unpopulated. They have their own micro-climate. Dark, looming they give height and perspective, a backdrop, changing colours in the different lights, casting shadows. They are nearer the moon.

Farm Buildings
A symbol of Man’s interaction with the earth: good and bad. They are strongholds, often isolated surrounded by land, often dwarfed by the landscape, huddled together. They create field- boundaries, pathways, patterns, and colour. They represent a livelihood linked to nature. They are often the lightest part of the landscape creating chiaroscuro within a picture, a tension between Man and nature. They can also offer a refuge for Man and beast, warm, comfort, reassurance. They can evoke a nostalgic feeling of times past, a different, gentler way of life.

From Palette to Picture.

Wild landscapes are my inspiration. My pictures are amalgamations or distillations of remembered landscapes.

I paint in my garden studio. This is my space. I do not need natural light and usually have the blinds drawn and door shut. I like privacy when painting.

I used to paint to music or the radio. Currently I paint to books on tape or CD which I borrow from the library. These are unabridged and can last up to 17 hours. I am so attuned to this way of working that I cannot paint without them. They are as much a part of the painting process as the paint or canvas. Generally I paint on 36″ x 36″ square canvas. I find this size and shape pleasing to work on. My compositions are unusual in that all the detail occurs in a quarter or a fifth of the picture.

Having decided on the composition in a sketchbook I carefully but quickly sketch in the detail. All this planning is often covered by the first coat of paint.

I then decide on a ‘mood’ colour which will unify the painting; however the first coat of paint may be the exact opposite. I generally paint with acrylics. I find them versatile and like the quick drying properties.

I am too impatient to wait for oils to dry.

I like to use texture in my work. This can take different forms: impasto paint, gesso applied with a knife, texture paint, decorator’s filler or smoother internal wall plaster.

I sometimes use a crackle glaze between coats of paint which produces fissures in the surface of the paint. I sometimes use ‘negative texture’ where I scrape back paint to the surface of the canvas. I often like to dribble or squirt paint or ink using a pipette and then disperse the dribbles with a fine water spray. This can be very unpredictable but exciting. I also use a large variety of tools for paint application. I will use the largest brush I can get away with as this prevents fiddling; these are often house painters brushes. I also use artist’s brushes, stencil brushes for spattering, palette knives, scrapers, spatulas and trowels. I squirt paint with syringes and pipettes and can call on a collection of rollers, sponges, quills, sticks and tissues for blotting.

Most of the texture is in the foreground. I use it sparingly in the background as it tends to pull it forward and can ruin the balance of the picture.

The paintings evolve and develop during the process. Nothing is written in stone.

I like to leave the paintings around the studio for a few weeks until the temptation to make minor changes abates. Once photographed the pictures are signed, varnished and packed away.

Although I reuse similar subject matter, each new work is an exciting adventure; like setting off on a journey with no proper map just a few vague directions. I can never totally predict where I will arrive but after a few directional changes it will be somewhere close to my desired destination.

A day in the Life of.

My two older children Tom and Alice are away at university, however, Liam and young Dylan live at home with my wife Natasha and I. Their day starts early and therefore so does ours.

The last thing on my mind at night and the first thing I think of in the morning is the painting I am working on or about to start. However in the morning practicalities take precedence: breakfast and school for the children and work for Natasha. When possible I walk Dylan the half mile to school.

I virtually run back in anticipation of a days Painting. Armed with milk for my studio cooler (a birthday present from Natasha) and my mobile phone I head into the studio. I resent the need for the mobile but being incommunicado all day is not practical.

Over a cup of tea and my latest story playing on the CD, I peruse the current work or prepare to begin a new canvas. Once I begin I only pause to make tea or change CDs. I work quite messily once into my stride with paint and brushes everywhere. I do not eat during the day as I regard it as a waste of precious time. I paint until it is time to fetch Dylan from school. From then on domesticity takes over.

I sort Dylan a snack or get his tea and then prepare the evening meal and tidy up. When Natasha comes home we eat tea together. I rarely paint in the evening and usually spend it with the family apart from Friday night when I go to the pub with my mates.

It’s good to leave the work locked in the studio overnight. It creates excitement for the next morning-that first glimpse of the painting and either joy or despair. If I am feeling insecure about a picture I might manufacture an excuse to ‘fetch’ something from the studio and have a crafty peak.

I retire to bed with my head full of new ideas.

Neil Dawson

As with many people, I had always loved art as a child and while growing up at school. I continued my formal artistic education at Central Saint Martins College in London and continue to learn on a daily basis in the studio. The Foundation Course was a very interesting and enjoyable year even though I struggled with some aspects of the course and, at the time, it put me off pursuing a career in art. I had enjoyed the freedom, spontaneity and escapism of painting and the way I could lose myself in the creative process. I did not know how to talk about my work and to an extent I did not want to – I would rather people make their own mind up and take what they want from my work rather than me telling them what they should be thinking and seeing. Discussing, dissecting and, to an extent, justifying what I was doing just seem alien and troubling to me.

After the spell at art college I went on do a degree in economics and a job in banking and I didn’t pick up a paint brush for many years.

It was an extended period of travel that rekindled my loved of art. Being constantly exposed to beautiful, enchanting, strange, evocative, provocative, bewildering environments with the time and mindset to properly appreciate and reflect on them was a defining experience. Whilst travelling, my camera was my artistic outlet as I tried to capture elements of my new, exciting surroundings. As I got home I dusted off the palette and paints in an attempt to recapture some of the sights and feelings from my time abroad. I quickly realised how much I had missed creating art and have not looked back since. It has not always been plain sailing since, but I will never regret giving art another chance, regardless of what the future may hold.

I am a very visual person and my ideas tend to come from what I see around me. In everyday life – flicking through papers, watching TV, walking around town – images, compositions and colours can trigger chain reactions, sparking ideas for future paintings. I am always finding torn out references from magazines or scraps of paper with notes and sketches made in moments of excitement and inspiration days or weeks ago, that serve as starting points for new work.

A great deal of inspiration comes from the development and evolution of my own work. I am on a constant learning curve with my painting, even in a disastrous piece I can usually find something – whether a colour scheme, method of mark making and paint manipulation or composition – that worked well and can be taken on and developed in a new work. It is an exciting and evolving process that keeps me fresh, inspired and coming back for more.

I tend to use photographic references as a starting block for my pictures to help give a basic structure. However, I don’t like have too strong an idea of exactly how I want the finished article to look, preferring to work in a intuitive and impromptu way thus giving the painting a free rein to develop and feed off itself. I always start quickly as I dislike staring at a blank canvas and find the early stages of a painting the most exciting and creative. I will block in large areas of colour and tone to give the picture life and energy at an early stage. I don’t think there is a right or wrong way to paint, it’s just whatever works for you.

Personally, I like to build the picture up as a whole, slowly letting the image come into focus rather than working section by section. I also like to use my fingers a lot in the early stages – the versatility and speed with which the paint can be applied encourages me to work freely, energetically and instinctively. The picture will usually take about five or six stages to complete as the layers of oil paint dry, with the process tending to slow down in the finishing stages as I get down from the big and bold to the smaller elements of the painting.

One of the great advantages of being an artist and working for yourself is the freedom it allows you to set your own timetable and work to your own rhythms. I love not having an alarm clock telling me when to get up and rarely wear a watch, instead responding to when body and mind are ready for the day ahead. After getting up and getting ready I will normally spend a while looking over my canvases (I will normally be working on anything up to about 10 at any one time), mentally preparing myself and formulating a course of action for the day. It rarely goes exactly to plan, painting can be very mercurial, but I like to have some goals and an idea about where I will be heading. I will then turn the radio on for some background music and settle into the day’s work. Lunch is normally a quick and simple affair, as by then I am normally totally involved in what I am doing, too excited by the possibilities ahead to be distracted too long.

I will normally start to clear up about 6ish, again listening to the body and mind which are normally slowing by then and tiring from the extended effort and concentration I have put in during the day. I will then have a short review period, often making notes on things that I have liked or disliked and thoughts about what should be done next. Then it is time to turn the paintings over so I can’t see them and try and switch off and away from my own personal little world, either losing myself in a book or, more often than not, relaxing in front of the TV. The inertia does not normally last long as something will capture my imagination and set the brain racing with possibilities and potential ideas. I think if you are an artist you are an artist 24/7. You never step out of the office as it were – it affects the way you see and react to the world about you. I tend to get up thinking about art and go to bed with the same thoughts.

Mark Spain

I have always been interested in art right from an early age. After having attended Art College, I decided I favoured printmaking and opened up a print making studio in Kent where I spent many years developing my etching and collagraph techniques.

After the storm of October 1997 I was commissioned to produce a limited edition etching of Kew Gardens. Other commissions have included ones for Natwest Bank and The Dorchester Hotel.

My art began with a love of landscape images and had many etching editions published by CCA Galleries of London. These were successful and spanned many years. However, as time went on I felt the need to develop other forms of imagery from abstract to figurative. I am constantly experimenting with different subjects and techniques, which I then apply to a variety of images. Although this is new to me I have thoroughly enjoyed and embraced the new challenge.

My collagraphs have been exhibited at Mall Galleries, and my abstract oils at the 20th Century British Art Fair as well as other works being shown at the Chelsea and Hampton Court Flower Show and the Barbican Contemporary Print Fair. More recently, my figurative works have been published by Washington Green.

My ideas can come from many sources, but are more often than not prompted by music. The majority of ideas develop when I’m working on another painting or in the evening when I’m relaxing. When this happens I do a small thumbnail size sketch so that I don’t forget it. Then at a later date I work the sketches up, until I can visualise it as a painting, with the use of models and props.

I believe that the mood and feeling within the painting are as important as the composition. This is an area that I enjoy exploring – it’s such an exciting challenge to try and capture a moment (good music at this point always helps).

Once I have a clear idea of an image, I will often develop a colour rough to try to help create the right feeling.

If I am working in oils, I will paint a basic background colour that is predominant within the image and then begin to work forward. Once the basic picture is painted, I will continue to work the colours of the subject and background until I’m happy with the general mood and feeling within the image.

I always like to create a little energy with the brush strokes, to help give the finished painting some life. Once finished I often place the picture out of sight for a few days and then re-visit it later with fresh eyes to see how I feel about it, and whether I can improve it in any way.

When painting abstracts, my approach is somewhat more spontaneous. I don’t usually have any preconceived ideas, and I just allow the image to happen. Colour choice depends on my mood and I usually work on several images at once. I will continue to work on them over a period of several months, sometimes painting major changes to the image many times, until I’m satisfied with the end result.

My typical day for me would depend on whether I’m print-making or painting.

When printing, the day normally begins at about 8.00am with the preparation of inks and paper. If all goes well I will hopefully have my first print pulled off the press at about 9-9.30am. Once I am set up and the prints are coming off the press, I either print part of an edition or continue colour proofing new images for the rest of the day until about 5.30pm.

If I’m painting my working day is somewhat less demanding physically, but can mean a much longer day. I may start the day off with a light workout at the local gym, followed by breakfast at about 9.00am. I begin painting fairly slowly with plenty of tea breaks and music in the background until hopefully I settle into an image and it seems to flow. If its going well, I will continue with it until I feel I need a break, otherwise I usually stop for lunch at about 1.30pm and then carry on working until about 6.30pm when family matters take over. With two young children I try as much as possible to make sure I spend some quality time with them each day. I may return to work about 9.00pm, once the children are in bed, and if I’m feeling particularly keen and inspired I have no fixed finishing time before calling it a day.

Mackenzie Thorpe

Mackenzie was born in 1956, the eldest of seven children. His early years were spent in a small terraced house in the town centre of Middlesborough.

His early formative years were spent playing in and around the streets and back alleys of terraced houses. Derelict bombed out houses provided an exciting playground for Mackenzie and his Uncle Lawrence – three years older and a protective, guiding influence in Mackenzie’s life.

Mackenzie’s father worked as a labourer and his mother an auxiliary nurse. Life for the Thorpe family was no different to that of most of their community – at times a struggle.

Mackenzie acknowledges mixed emotions about this period in his life. He remembers the strong feeling of community spirit, the strength of individual characters, the warmth and humour that flourished in the face of adversity, in the most unlikely of settings. He has also not forgotten the loneliness and isolation, the fear and the darkness that was ever present, waiting it seemed in every shadow. The vivid reality of these barely faded memories is apparent in some of Mackenzie’s works.

The need and compulsion to draw was obvious from an early age, he would seek out and create with whatever raw materials he could find. Life for most people was about struggle and survival. Mackenzie’s driving force was always to draw. He did not, could not, question this need. It is a need that remains with him today.

Mackenzie is one of those rare artists who are completely inseparable from their work. His restless energy and his passionate concern for humanity are as evident in his free-wheeling conversation as in his paintings and drawings. Whether he is depicting one of his notorious ‘square sheep’, a group of burly men hunched over their dominoes in a smoky pub or a fantasy Wild West shoot-out, his work speaks to you as decisively and compellingly as if he had slapped you on the shoulder. There is no pretension, no aloofness, just the urge to explore and communicate a deeply felt emotion.

Lorenzo Quinn

Lorenzo Quinn studied at the American Academy of Fine Arts in New York and subsequently in workshops and foundries across the United States and Europe. Starting out as a painter in 1982, he soon discovered that a dimension was missing from his works and that he could not offer anything that had not already been offered by other artists before him. Turning to sculpture because of a deep-rooted need to create, he found this medium allowed him to convey his innermost feelings to the viewer; it is, in fact, this direct communication which Lorenzo constantly seeks. He says, “It is the viewer that interests me not the art critic…I make art for myself and the people who wish to come along for a ride through my dreams. He is inspired by the great masters such as Michelangelo, Bernini, Carpaux and Rodin, and he frequently returns to Italy to gain inspiration and knowledge.

Lorenzo’s work is included in many impressive private collections throughout the world, which has lead to a prodigious amount of commissioned work. This includes being commissioned by the Vatican to sculpt the likeness of Saint Anthony, in commemoration of the Eighth Centennial of the Saint’s birth. Lorenzo’s sculpture was blessed by the Holy Father in Saint Peter’s Square before it was placed in the Basilica del Santo in Padua in 1995. He has also been commissioned by the United Nations to produce a stamp for their collection, as well as placing several monumental sculptures throughout the UK and Europe. His ongoing project, ‘The Globe Of Life’ which represents the hundred most important moments in history, looks set to be his most significant work to date, with five monumental bronze sculptures linking each continent. Other than having exhibited throughout the United States, Lorenzo has shown his work in South America, Europe and Asia. In April 2003, Lorenzo’s monumental sculpture, ‘Encounters’, which has been commissioned by Fundatur and donated to the city of Mallorca, was unveiled opposite the Museum of Modern Art in Palma de Mallorca.

Each of Lorenzo’s sculptures is born first in writing, hence the reason why the artist always displays his ‘poems’ alongside each sculpture “because they are a whole, one could not exist without the other. I don’t believe in purely decorative work. It must transmit emotions, it must say something to me and the people that observe it. He is inspired to sculpt by life’s everyday experiences, as well as by poems and literature in general, but especially from observing life’s energy. Savoring life to its fullest is very important to Lorenzo, allowing him to “enjoy the many different aspects of existence. As a result, each of his works represents a period, an emotion, a symbol.

Lorenzo has managed to absorb and combine all his diverse talents, thus enabling him to develop his own unique artistic style. His work reflects the clear, true vision of an artist who has matured far beyond his years in a stimulating, intellectual environment. It has been said many times that life imitates art; the achievements of Lorenzo Quinn certainly lend credence to this belief.

Lawrence Coulson

I have been surrounded by the art business for as long as I can remember, my father being Gerald Coulson, one of the country’s foremost landscape and aviation artists. I grew up with oil paintings propped up to dry in various places around the house and kind of took it all for granted. My father worked in a spare bedroom and for a while as a young child I thought all Dad’s did the same.

I was always encouraged to draw, my main subject being cars. As I grew up, all I ever wanted to be was a car designer, an occupation I would have loved to have pursued.

I never really excelled in art at school and having left at the age of 16 I started one of three positions in the retail business. By the age of 21, my father encouraged me to have a go at some oil painting. He gave me some pointers at technique, which colours to use, and the importance of tone values. The first attempts were pleasing enough and sold for £30 each in a local pub. Selling a few in this manner gave me the confidence to approach a local gallery and up until the mid nineties this was the mainstay of my part time career. At this point I was convinced that I wanted, and needed, to paint professionally.

I then started hanging work in a local restaurant at the suggestion of the owner, where I sold paintings on a regular basis. I had met both Paul Green and Glyn Washington through my father years before and on discovering Paul was visiting my fathers studio, I arranged for a piece of my work to be on view there. I also arranged a one-night exhibition at the restaurant with the support of its owner and invited Paul Green from the Halcyon Gallery to attend. To my surprise and delight he did, buying most of the work in the progress. Over the next few months I worked as hard as I could to keep up with the demand. This meant that I was retail manager by day and landscape painter by night/weekend. It eventually took its toll on me and I realised that something had to give. It took weeks for me to actually do it, as we had a young child and were not in the best of financial health, but on 4th July 1997 I handed in my notice at the office and became a professional artist.

Almost immediately the quality of my work improved and after several successful showings at the Halcyon Gallery, Washington Green embarked on a publishing programme. Since joining them my career has gone from strength to strength and I now attend promotional exhibitions all around the country, which I have to say I rather quite enjoy.

My paintings have always been based on the English landscape. I have dabbled in other things but for me its landscapes that have held the most interest. I feel a huge amount of satisfaction in trying to create the tension that fills the air just before a thunderstorm, or the atmosphere of being the first one on the beach on a cold autumn morning. As my work has progressed over the years it has been the mood, the light within the painting that has become the central theme. More of the image is taken up by sky, for this gives the light, therefore the mood of the painting. The landscape is almost incidental. This may be because of my locality on the edge of the Cambridgeshire Fens, a notoriously flat area that is dominated by the sky. Also, I can drive for an hour and be on the Norfolk coast, well known for its huge empty beaches where the tide goes out for miles. It has been this portrayal of space that seems to have been behind the success of my work, people writing themselves into the painting, identifying with the solitary figure on the beach.

Other inspirations can come from anywhere; it’s just a case of keeping your eyes open. Sometimes it can even be as simple as seeing two colours together, just out of the corner of your eye, that can spark off an idea, even glossy car commercials. To me these are just as important as any amount of reference photographs and sketches that I make.

Of course I have always looked at the work of other painters. In the early days any work I did was just a pale facsimile of my father’s work. However, as I worked more I began to look at the paintings by Monet, Corot, Sisley, Seago and others. I am not a great art historian and did not go to art college so don’t have any great knowledge to fall back on. I tend to look more at whatever is going on around me, maybe just walking around some of the galleries in London.

Interestingly my technique of painting is very different to the painters that I mention as being inspirational. All four of those mentioned are known for applying the paint quite heavily, in a loose, sometimes impressionistic style, whereas my work is more controlled. I have heard it described as being very refined, which was nice. I have tried to loosen up, but development should come naturally and not be forced.

Most of my paintings are now on canvas, apart from some miniatures, which I do on prepared panels. From the moment the canvas goes on the easel I know how I want the finished article to look. This was one of the most important things my father taught me. I start by covering the canvas with a base cover of colours and the tones I am going to use, a primer coat if you like, and I do this in acrylic paint because it dries in minutes, not hours like oils. When dry I proceed on the painting, using oil paints and mediums and building up layers of colour and tone to achieve what I hope is a very clean, clear painting. I don’t mean clinical, just not daubed. As oil paints can take several hours to dry I tend to work on several pieces of work at any one time. You get to a certain point on a painting when you cannot do anymore until the painting is completely dry. For this reason I do not know exactly how long any one picture takes to paint, but I do know that some of the most successful are also some of the quickest.

I tend to work a very structured week. I usually aim to be in the studio around 9am and stay there until about 4.30pm, or until a lack of daylight makes work impossible. I try not to use artificial light if I can help it as it corrupts things too much. Having said that, I can often be found in the studio at 10 o’clock in the evening pottering about. I love my work and can always find something to do much to the annoyance of my wife who thinks I’m a workaholic. These days are often punctuated with drives up to the coast or just around the local countryside with my camera and sketchpad. My favourite coastal haunts are the huge beaches from Old Hunstanton, Brancaster and Thornham to the marshes of Cley and Blakeney.

I had the studio purpose built at the bottom of our garden. It was built to give as much light as possible and be comfortable to work in – with lighting, a wall heater to help dry the work and a small sound system. Loud music helps me work well. It’s no palace but I’ve got the most expensive shed in the village!

I tend to produce work in batches, between fifteen and twenty at a time and I try to show as much variety in the subject matter as possible while still producing the style of work that I enjoy and have become known for.

John Wilson

My first recollection of having an interest in art was at the age of 10 when I entered into a school Easter Card Competition and won first prize. This inspired me to carry on drawing, particularly incorporating my main interest at that time of aircraft and cars. Things changed when I was 12 – for Christmas I was given a set of oil paints and an easel (the easel I still use today 40 years later!). Painting in oil opened up a whole new world of colour and texture, as well as filling the house with the wonderful scent of linseed and turpentine.

I then enrolled in painting classes on a Saturday morning at the ‘Harrogate School of Art’, which I attended for about 2 years. I then took my art interest even further and attended a part time evening course where I was introduced to figure painting and also pop art. My high point at that time was a ‘pop art’ self-portrait, which was displayed as part of an exhibition in the Harrogate Art Gallery.

Due to the need to earn a living, painting unfortunately had to take a back seat for the next few years. I married and had 3 beautiful daughters whilst running my own small business for 25 years. For my own pleasure however, I did manage to continue to paint in my spare time.

It therefore wasn’t until the mid 1990′s that I actually went back to art more seriously and started exhibiting in the local galleries. I now have various galleries in the area requesting my work and I’ve had several successful exhibitions. Painting now takes up most of my time – I go to bed thinking of my latest painting and wake up with ideas for the next.

Finding a subject or idea for a painting can be a daunting task, and can often come from the most unlikely source. I remember once going to a Hockney exhibition, where a striking painting at the opposite end of the gallery caught my eye. I saw this painting as depicting a flight of stairs following up to some marble arches, through which I saw the sun sitting in a bright blue sky. As I got closer to the painting it became clear that it was actually nothing like that at all. It was in fact a wooden table standing on a veranda overlooking the sea. This later inspired me to paint the picture I first thought I’d seen.

When my youngest daughter, Stephanie was four years old she brought home a wax crayon picture of herself from playschool. As soon as she showed it to me I was fascinated by the way it had been drawn and by the colours used. I then began to look at other children’s drawings and found one main similarity between them all – the fact that nearly all children draw people full frontal; with either stick or fat arms and legs; and yet they nearly always draw animals in profile. I found it really interesting the way children tend to perceive and interpret things within their everyday lives, often in the same way. Although Picasso once said that when he was a child he could paint like an adult, and he spent all his adult life trying to paint like a child. This led me to thinking that some of the old masters – Monet, Van Gogh, Renoir, Da Vinci – would have probably drawn people in exactly the same way when they were about four years old. This subsequently gave me the idea of mixing children’s art, with no inhibitions, together with the carefully planned paintings of the adult artist. This style of painting has proved very successful for me and the more children’s art I study, the more I will be able to continue to find various ways of developing and combining the adult approach to painting with that of a child’s.

Over the last couple of years I have never actually been stuck for subject matter – in fact I’ve always tended to have plenty of ideas for my next few paintings already in my mind. And I still find that there is always a real sense of accomplishment on completing a painting, together with the excitement of beginning the next.

“Out of the ashes rose the Phoenix.. My palette is a mess, my paint box is a mess, I somehow end up splashing paint over everything including myself, and yet a clean, sharp picture emerges out of it all! That’s probably one of the reasons I enjoy painting so much – the fact that out of all this chaos, there’s really a hidden sense of order within it all.

A few years ago I worked exclusively in watercolour, but when one of the paintings I was working on required a stronger colour, I was forced to experiment with a less familiar type of paint. So I bought a tube of gouache, and the rest, as they say, is history! That one tube resulted in a change in the whole way I painted – to the point that 90% of what I now do is in gouache.

I usually start with a very small rough sketch, which I then enlarge onto my full size heavy watercolour paper. I do very little pencil work here, just enough to mark out the perspective. I prefer to work freehand with the paint straight onto the paper and see what emerges.

When doing a painting that incorporates children’s art, I use wax crayon, and although I’m right handed, to get the desired effect I tend to use my left hand. A painting can take me anywhere from one afternoon, to 4 days to complete, depending upon the amount of detail. And these can often be pretty long days! But once I’m immersed within my painting, I don’t tend to realise what the time is! At various stages throughout a picture, however, I need to stop and take a step back from it, just to make sure that it is developing as I had envisaged. On the satisfactory completion of a painting I will give it a title and then finally photograph it for my own records.

How many people wake up on a dreary Monday morning feeling excited about going to work? And how many people enjoy what they do so much that they often don’t even take the weekend off?! Well, I think I must just be one of the lucky ones. I always seem to find myself looking forward to either getting back to a painting I’m already working on, or starting on the next and sorting through all the ideas going on in my head.

For me a typical day starts around 6:30am, when I get up and organised and see the rest of the family off for the day. I am then relatively undisturbed and usually begin painting at around 9am. I work in my studio, which is actually a conservatory at the back of the house. And when it’s windy and raining outside, I certainly feel very relieved that I don’t have to go out in it to get to my place of work. Usually if I’m in the middle of a picture, I can just sit down at my easel and get straight on with it, but if I’m starting a new painting I need to think about it and do some rough sketches. I work in short sessions, probably 2 hours at a time with short breaks in between, so I can evaluate the work I’ve done so far.

When I’m painting I like to have a cup of tea next to me all the time, although I usually end up drinking it cold as I get so absorbed in what I’m doing.

I try to put a little humour into my paintings and I know when I’ve succeeded when my family come home and it puts a smile on their faces. They are my greatest critics, so in the evening we like to view my days work and relax with a glass of wine.

John Waterhouse

From an early age I had always been interested in art, gaining inspiration and encouragement from my parents, especially my mother, who had drawn and painted a little herself as a hobby.

Growing up in a rural Staffordshire village helped me to understand the beauty of the countryside, which I still feel so important in order to portray its true character. Being close to the subject matter is of great advantage to me for the constant reference I need to support my work.

In 1983 at the age of sixteen, I left school gaining a grade A in ‘O’ level art and winning the overall school prize for best art pupil. Upon leaving school, I worked as a storekeeper in a local warehouse, painting only as a hobby in my spare time. In order to give me more time to develop my artistic skills I decided to give up my full-time job in 1994 and take up a part-time position instead.

I gave up the part-time position in 2000 in order to teach painting two days a week to young offenders in a local youth prison. I then reduced this to one day a week as the demand for my work was increasing. I have found working with these young people very rewarding, as there is so much talent that would normally be unrecognised. I have tried to encourage them to see this as a new adventure, and knowing that I may have contributed something towards turning people’s lives around has made the job worthwhile for me.

Although I was initially concerned about giving up my so-called ‘proper’ jobs, I finally got the confidence to turn to painting as a full-time position after seeing the quality and value of my work rise through doing various commissions for art collectors.

Once painting full-time I started showing my works by exhibiting my paintings in one of Washington Green’s Partnership Galleries. This gave me a steady flow of commissions and an increased following for my work. It also introduced my work to Glyn Washington of Washington Green and has since led to them publishing my work. Teaching myself how to draw and paint has taken many long hard hours in the studio to perfect, and it is now that I am finally starting to feel the benefit from it.

Many things inspire me to paint – from walking the fields and woodlands that surround the area where I live, to simply watching people going about their daily lives. New ideas for paintings constantly enter my head and I note many of them down on paper, so as not to forget them.

When painting a landscape, a lot of the information is there, but more often than not something extra needs to be added, or changed slightly. A cloud formation, a distant figure, or perhaps the way the light is falling. With landscapes I feel it is not so much an idea, but an ability to balance and compose, to a certain extent, what is already there. I find the English countryside very romantic. Fields and trees to me have their own character and history, just as a person does. By taking plenty of time to study the view that I am about to paint, helps me to decide the areas that require toning down and the areas that need to be made more vivid, if any, in order to emphasise it’s character.

Although I paint landscapes, I also enjoy painting people. I find this work a challenge, which is part of the attraction for me. Just by sitting on a park bench watching the world go by can fill my head with plenty of new ideas. The store of ideas is endless. As with landscape painting, it is just a matter of looking, thinking and using an imaginary form in my head. The image then needs to be etched into my mind, as unlike a landscape, the subject matter may not stay still for very long, leaving me to reconstruct my ideas using models etc.

Before I start any painting I have to feel confident about the composition and balance of the picture, sometimes spending days or even a weeks producing sketches and collecting reference material in the form of photographs as well as using my memory. This may even involve producing a very detailed scale drawing and watercolour sketches.

I then proceed with the painting, working mainly in oil. I can usually cover the whole canvas or panel in one or two days, showing the basic composition. The painting is then left to dry. The following stages of the painting, involve adding atmosphere and detail. On very fine paintings, this may involve many weeks of work using a variety of different brushes.

When I feel that I have completed a picture, it is put to one side and out of sight. Then a week or so later I will look at it again. The reason for doing this is to detach myself from the picture, so that when I next see it, I get a fresh look at the impact and atmosphere. This will be my final stage of the painting, before making any minor adjustments, resulting in the final image that I am happy with.

I start the day at around 7.30am with a walk with my faithful friend Sally, a 14-year-old Border Collie. I feel that this walk at the beginning of the day is very important, not only for the physical side of things, but mentally I can prepare myself for the days work ahead of me, sorting out what I need to achieve by the end of the day.

Upon my return home I have some breakfast and at around 8:30am I enter my studio, which fortunately for me, is at my home. The studio is very minimalist with plain cream walls and a bare wooden floor. I don’t like lots of clutter around me. I would find it very irritating, as I like to have space to move freely. I do like to stay isolated as much as possible when I am working, as I tend to work best this way. However, I am occasionally tempted away from my easel, by the sound of Mel and Niamh – my beautiful wife and daughter – playing and laughing and I simply can’t resist joining them for ten minutes or so.

Like many artists I listen to music while I work. I feel at my most creative when I am in an emotional mood and the music helps me to achieve the results I need.

At the end of the day I normally sit down and watch the television and chat to Mel about her day, usually about the little tricks Niamh has been up to (it is also at this point where Mel brings me back down to earth by informing me that I have absent mindedly forgotten to do the washing up!!). It’s a rewarding feeling leaving my studio at night, knowing that I have achieved my day’s goal.

John Myatt

A competent artist who never got the breaks, John Myatt might have remained a footnote on the page of art history. True, not many artists can lay claim to having written a Top 40 tune as he had – Silly Games in 1979 – but he wanted to be known for his art, not as a one hit wonder.

Yet fate conspired to prevent him working as an artist. Left alone with two young children to support he had to work as an art teacher to pay the bills. “I spent all day teaching other people’s children and had no time for my own, he says. “I needed to find a way to work at home.

Casting around for ideas, Myatt remembered that a few years earlier a friend had offered to pay him £300 to copy a painting by the French Post Impressionist Raoul Dufy. His friend had been delighted with the result reporting that the copy was so good it had fooled experts. At the time Myatt had shrugged off the compliment but now it played on his mind, perhaps he’d found a way to work at home after all. In 1986 he placed a classified ad in Private Eye, ’19th and 20th century fakes for £200′ and a perfectly legitimate business venture was born. His materials were unorthodox – Myatt used household emulsion mixed with K-Y jelly to add body and fluidity to his brush strokes – but the results were pleasing.

Then Myatt received a call from a ‘Professor Drewe’ who claimed to be a nuclear physicist wanting to purchase paintings to decorate his home. Myatt obliged with paintings in the style of Matisse, Klee and two 17th Century Dutch Masters.

One evening Drewe phoned Myatt, “I took one of your paintings to Christie’s, and they said it was worth £30000.

Myatt says “That was the moment that the legitimate business stopped and the crime began.

I said: I can’t believe it. Are you aware it’s painted in emulsion paint? He admits to being flattered, “My vanity was quite ghastly, he says. “The mistake occurred here. My reaction was to express an interest.

He rapidly painted his way through 20th century art history: Ben Nicholson, Nicolas de Stael, Le Corbusier, Matisse, Roger Bissiere. He admits, “I took no trouble technically. There was a negligence to everything I did.

He worried that his fraud would be discovered but Drewe calmed him, telling him how brilliant he was and how rich he would get. “I was flattered into thinking I was a man of importance. Yet Myatt could not shake the feeling that “.this would all end in tears.

And indeed it did – in 1999 John was sentenced to 12 months for Art Fraud and eventually served 6 months in Brixton Prison. Upon his release the arresting officer (from Arts & Antiques Squad, Scotland Yard) contacted John and became his first customer for one of John Myatt’s ‘Genuine Fakes’.

“Although I frequently use modern paints and canvasses the hope is that the finished painting will deceive the eye into thinking that it is seeing a new work by an established master.

John Harris

Born in 1948, he studied at Exeter College of Art and graduated in 1970. He has participated in numerous exhibitions both here and abroad, occasionally showing with groups such as the Brotherhood of Ruralists. His first one man show was at Double Vision Galleries in 1984.

A preoccupation with the scale and atmosphere are the hallmarks of his work and which have led clients such as Shell, Phillips Electronics and many others to commission pieces from him. Sir Clive Sinclair has in his collection many large scale canvasses of his work.

In 1984 NASA invited him to Cape Kennedy to witness the launch of the Space Shuttle and record the event in a painting, the first British artist to thus be honoured. That work now hangs in the Kennedy Space Centre and is part of the Smithsonian Collection. Much of the work belonging to this period can be seen in the recently published book, ‘MASS, The Art of John Harris’ by Ron Tiner.

Since then, his work has broadened to cover other areas of painting and, when not engaged in his own projects, still produces for the commercial sector, in particular a series of paintings for the recently built large cruise ships of the Royal Caribbean Cruise Co.

John Harris lives and works in the West Country. He is married and has two children.

Jeremy Barlow

From sun-dappled Venetian balconies to busy boulevard cafés, weathered and intriguing shop fronts to quiet provincial villages, Jeremy Barlow delights and excels in painting wonderfully atmospheric and evocative scenes, reminiscent of one’s own experiences abroad.

A characteristic of Barlow’s work is the way in which he creates an impressive interaction of light and dark. The strong contrast of deep, rich shadows with pools of bright sunlight, so familiar in southern European countries, is employed to great effect.

Barlow studied illustration at Northampton School of Art before working in art studios in London and the Midlands. His love of travel and ability to capture onto canvas his visions of foreign, yet familiar scenes, was indulged when in the early 1970′s as a full-time artist he went to live in Dusseldorf, West Germany. Here he concentrated on painting landscapes and townscapes of Holland, Belgium, Germany, France and Italy.

Jennine Parker

My work expresses a passion to create movement, shape and texture.

The female form imaginatively evoked through curves and shapes. Ideas eveolve from all aspects of life around me.

Inspiration from natural weathered erosion creates a contrast from smooth to textured surfaces, creating sensitivity to texture and form. Interesting shapes and lines are naturally created from every angle, feeling the need to hold or touch the sculpture is my deliberate intention.

All of my sculptures are created using an oil based modeling clay. I press texture into my sculpture from any interesting debris such as bricks and pebbles, to give depth and interest to each piece.

Jeff Rowland

After studying art at North Tyneside College, I became self employed as a professional artist in 1984. I used this time to experiment with all medium including glass engraving, printing and painting, but always seemed to be drawn back to oil paint. Even as a child I can remember my grandmother using oil paint in a paint by numbers set. This caught my attention and I was fascinated with the medium. I always tried other mediums because I found the process of art exciting. At this time, I had a scatter gun approach to art, working in all areas and not really having any one medium to learn my craft. Times became difficult and I had to re-train. In 2000 I did a HND in advertising/illustration as a visualizer, studying at Newcastle. While there I worked on many live briefs and was successful in winning a NEPA award (North East Print Association).

After graduating and looking for work, I just could not keep away from art. I wanted one more try at being successful in art. After exhibiting in a Northumberland gallery, my artwork was taken to the London Affordable, where I had a sell out in one day. Things began to snowball. I exhibited in Edinburgh and in Dublin with equal success. Over the past two years, I have witnessed a change in my work. I feel that I have honed my efforts and skills into compositions that really express and convey a certain atmosphere or moment.

I have always been fascinated in two areas of art; the implicit meaning and the inspiration. I was inspired to paint a rain soaked street through films I saw at the cinema. I watched The Bridges of Madison County, a film about an accidental relationship between a man and woman. The film is always shot in beautiful sunshine, until the end, when the relationship has to end and the rain really falls, giving an implicit meaning that the relationship is being washed away. The Road to Perdition is another example. At the end of the film, relationships are ending, implied by the use of falling rain.

I like to let the viewer of the painting make their own mind up about what is happening with the characters in the composition. I like to add street signs pointing in two different directions suggesting that these two people are coming together, or are they splitting up? Maybe they are having an affair; is their love a secret or are they simply going back to the bar where they first met? This is also helped by composing the painting on a street corner. A view of two roads meeting or two paths crossing. In their relationship, has the bar become ‘their bar’? The viewer has the answer.

As part of the working process, I am always inspired to experience what I am about to paint. I remember Billy Connelly saying that he hated songs about Scotland that were written by men in London: men who had never even seen the Highlands. In other words, if you are going to do something creative, get to the very heart of it first.

I did a series of paintings about Trawler men some time ago. I researched the project by going out into the North Sea with the men, on a trawler and sketching them while they worked. They thought I was mad, getting soaking wet, freezing cold and stinking of fish…but I loved it. I now use this approach to my rain paintings.

Living on the North East Coast we get our fair share of rain. When it rains, I feel the need to get out there and sketch. Look at how rain can bounce off the ground and car roofs; the reflection from car lights and street lights.

The paintings can be set in any city: again, it is up to the viewer. However, I do like to add a personal touch to my bars. My family tree stretches to Ireland on my mother’s side and Scotland on my father’s, so I like to name the bars in either an Irish or a Scottish name. I quite simply have a passion to paint and if I can get the audience to imagine a scenario of their own, then I feel I have achieved a connection between canvas and viewer.

I find myself constantly looking at buildings wherever I go. Because the composition of my work could be anywhere or any street, it is a wonderful feeling to see a street corner bar, or restaurant and be completely excited about how I can create an atmosphere on that corner. I see old pub fronts or contemporary restaurants and I am completely hooked. By sketching or photographing the bar, I am ready to paint.

I first choose a canvas and decide whether it will be portrait or landscape. I then have a strange ritual I like to perform. Quite simply I run the palms of my hands over the tooth of the canvas and get a lovely feeling through my hands from the canvas, almost a personal connection between artist and material. Then, with a heavy graphite block, I begin to lightly knock in a horizon and areas where buildings will be. I then use my fingers to make marks and shapes giving me an overview of how the painting will look. I like to feel every part of the canvas. At this stage the work is at its most vague. Streaks, smudges and finger marks are just enough to allow me a glimpse of the finished work.

After fixing the graphite, I am ready to paint, mixing five or six colours on my palette. Using cerulean blue, ultramarine, Van Dyke brown, lamp black and titanium white, I create a spectrum of greys and cools blues. The application of these colours is applied vigorously to the canvas using a common decorator’s paint brush. I knock in all of the areas to create an undertone, then, always working from the background, I start to add suggestions of something going on. This may be a street sign, traffic, or street lights. I am now creating a perspective and depth of field. Working towards the middle distance and foreground, I apply the paint darker and heavier, pulling the foreground forward. At this stage I work on the bar front with its suggestion of light and perhaps a glimpse of the bar counter. After finishing the name of the bar, I can see where I want to place my characters or vehicle. Once they are in place I can now really enjoy applying the rain. I have developed a technique of stippling the paint with that common decorator’s brush. Because the brush is old and the hairs are split, I can achieve a wonderful effect which leaves paint marks that are not constrained to a uniform pattern. I can get the same effect from this brush with falling rain. I run the brush down the canvas using only the weight of the brush. The split hairs from the brush allow the strokes to become rain.

I live in Monkseaton near to the North East coast with my partner, Alison and our son Chris. I work from a studio at home and I am an early riser, so I wake at 6.15am. By 6.45am I have made tea for Alison and after dropping her off at work, I usually start my work about 7.00 – 7.30am. I like to clear my studio before I start; it also clears my mind. I am very lucky in what I do for a living and can’t wait to start the work. The night before I always make an itinerary of jobs I will be working on the next morning, so I begin by going through what is to be done; at the same time I get that all important big pot of tea on the boil. I then wake my son, Chris, make sure he has breakfast and all of his school equipment and is off to school by 8.40am.

I select a new canvas and go through my little ritual. After drawing out the work and ensuring that I am happy with its progress, I am hooked. When I start to paint, I am transfixed on the progress. To me, it is rather like reading a good book: when you read it you become lost within the story and forget where you are. That is how I am with a painting, even though I paint standing at all times. The only time I am disturbed from this hypnosis is when our cat, Bailey, wants attention. By lunch time I have my sandwich and tea while looking at the progression of work.I can’t resist, I have to paint whilst eating my sandwich . Ham sandwich and oil paint make an interesting and tasty combination. My day’s work can really fly by because I become so involved in the painting.

At the end of the day, I look at the result, but I often just can’t help adding a little more here and there. I think that is always the case with a piece of art, you are always looking for that perfect painting to produce; always seeing if I can go just that little bit further. I really do not think that an artist can find that perfect painting within his or her career, because once you have, you will go on looking.

If I finish a painting that day, I am immediately drawn to the next one, and sometimes find myself painting into the night. When the day is done, and after copious amounts of tea, I finally have an evening meal with a well earned glass of red.

Iain Faulkner

Iain Faulkner was born in Glasgow in 1973 where he was raised and educated. He graduated from Glasgow School of Art in 1996 with a BA (Honours) Degree in Fine Art. From the onset of his professional career, the fashionable and trendy routes of contemporary and conceptual art, adopted by many of his peers, was not an option. He chose instead to follow the more difficult and demanding path of figurative painting wherein clear, concise yardsticks of competence, draughtsmanship and painterly skills can be measured and judged, warts and all. At the age of twenty-nine, the result of his endeavours during his relatively short career has brought a considerable measure of success with his last four shows in London and New York selling out which is clearly indicative of the public’s appreciation and interest in his work. Faulkner’s paintings are concerned with the portrayal of strong and powerful images relying on visual impact as there is rarely any narrative. They are about capturing calm and contemplative moments, intimate exchanges, solitude, sometimes melancholy, heightened in their resonance by the use of chiaroscuro. Faulkner’s use of this technique gives a stark contrast between the light source and the often dark tonality found in his paintings. There is a stillness in the everyday themes which conveys a sense of inner-reflection. This is accentuated by the formality of his young self-engrossed characters and emphasised by the light and shadows reinforcing their emotional detachment. His charcoal drawings, included for the first time in a Faulkner show, are testament to his draughtsmanship; his awareness and acknowledgement of the prime importance of drawing and control of tone and to the peeling back of layers of paint thus revealing an insight into his creative process.

Hamish Blakely

I come from a theatrical background. I’m half Irish and my childhood home was a place where extraordinary things happened. It was an environment where my brothers and I seemed bound to do something unusual. I’m very grateful for that.

Drawing was the original expression. I would draw an awful lot, trying to emulate other artists, to understand how they created what they did; but sketching it was and remained to be, until I found the mettle to use colour.

This happened long before I studied at Wimbledon School of Art and Kingston University. Having stubbornly lived in the world of black and white, I finally made myself paint – all exuberant enthusiasm and no clear direction. However, I had a breakthrough when I was 18years old. I had painted for some time by then, but this was the first time I had made a painting so seriously, with no experimentation, just care and an urgent responsibility to get it right. It was a portrait of my Dad, and without sign or suggestion, I leapt years ahead to produce something my 18 years could have thwarted. This was the turning point. It was no longer a case of just loving painting, but realising that I could be good at it.

It changed everything. Painting replaced drawing completely. I only drew again at college and again, gave it up when I left. I think that I had spent so much time making preliminary studies with pencil or charcoal, opposing the commitment of using colour, I now paint immediately, considering preparatory sketches unnecessary.

I became an illustrator shortly after leaving college and received a national award. The need to tackle an unlimited range of subject matter, was a very useful experience. I learned a lot in painting what I did not want to, as well as what I loved.

Artists, composers, singers, dancers or writers all have a memorable effect. But sometimes, it is more valuable to notice something not quite so obviously stirring. Often, a glance at the fashion section of the Sunday supplements has shown me something special. The non-posed images of particular models backstage. The structure of their faces still appeals to the light, but now they are distracted and less self-conscious. This could be a face, a character that helps a painting have its story. The added benefit is that I feel I have noticed something that someone else may have missed.

Art in any form, in any media, can be so many things that it can be in danger of being too many. It can be intellectual, conceptual and political, but I am steadfast in believing that Art is at its best when simply emotional. You see something and you are moved. Before analysis or a full understanding, the viewer can just enjoy the emotional sensation.

This moves beyond craft or technical prowess, however important. It is that ‘otherness’ in a picture that any artist strives to capture with every piece of work; and is eventually inexplicable and, more precious remaining that way. Each painting should contain something that cannot be repeated.

My all time greats of painting have to be Caravaggio, Velasquez and Rembrandt. There are many others, but I wonder at the works of these great artists more than anyone else.

A great painting will endure long after the initial impact. The spectator will continue to discover more, long after the original viewing and the work itself will breed the desire for new pieces. As I mentioned, more than technical proficiency, there is that otherness element that resists being formulated, but guarantees enough of a challenge to ensure I am still learning and trying always.

As far as subject matter is concerned, I have always loved painting people, favouring glimpses of figures and anatomy. Even in the enormous, allegorical works of classical masters, I have always been drawn to confined areas of a piece – a spotlit area that reveals a rigid jaw line, or the twist in a turned neck. Often I like to have images remain that simple – paring down extraneous material to leave what feels ephemeral. Other times, I need more of a setting and the reward is in the discipline of being more representative. Ultimately what makes me work is that, despite all the wonderful breakthroughs and milestones I have experienced in painting over the years, I never feel that I have quite nailed it. There is always more to be done, as I think it is very difficult to measure what your potential is, only the gratification that you have not yet reached it.

I paint immediately; covering the canvas with a colour I think will help the first detail make the best sense. This can and usually does change as the painting evolves. I do not do preparatory studies, as I prefer to resolve everything on the canvas.

I know what I want to paint, but have often changed composition and colours because a better idea has turned up two days later.

I admire artists who visualise what they will do before picking up a paintbrush or pastel. I can only plan how I will start. How it ends depends on influences I cannot predict. Of course there is a stamp or style that is unique to every artist, but this is automatic and unplanned; a new painting can reveal itself with ease and other times, only after a real struggle. Either process may be indiscernible in the finished piece – it is just the way it is. There is a naivety, not just necessary in rediscovering your potential, but for me, unavoidable.

I have a daily routine that starts and stops at precisely the same time, in my head. What actually happens depends on when I’ve finished the day before, but I like to rise early, have breakfast slowly looking at the garden with my puzzled, morning eyes. I also guard my free evenings as best I can. Soothing music in the background is the perfect balance to how I paint. It is an intense exercise and there are times when only the burgeoning clicks and bubbles in my gut tell me that several hours have gone before I grab a snack.

Ideally, I like to take regular breaks to clear the head and come back to see the work unfuddled. Knowing when to stop is a real skill and I’m no master; but no matter what has gone before I will always stop on a good point – otherwise I will not be able to leave it. Having finished painting for the day, I am nicely exhausted and just sit and stare at things a while. When I stop blabbing narcissistically about painting, I adore the peace and quiet in the evening with Gail – a nice meal, listening to music or watching movies – this is the very best part of the day.

Govinder Nazran

My art training began in Bradford in the North of England, where I studied Graphic Design from 1980-1983. After that I then went on to study for a Higher Diploma in Graphic Design, specialising in illustration, at Lincoln Art College.

Once I completed all my formal training I decided to move to London, approaching all of the major city publishers with my portfolio. It was there that I worked on illustrations for children’s books, and after 6 months moved to Cambridge where I continued working as a freelance illustrator.

Upon moving back to my home town of Saltaire in West Yorkshire, I took up the position of designer for a greetings card company, which involved all aspects of product design and development. Following that I became a photographic art director, directing fashion shoots all over the world. I did this for the next year or so until 1993, when I decided to swap my hectic photographic job and lifestyle, for a quieter life back in Saltaire. I spent the next five years here, working freelance on card designs with major publishing companies.

It wasn’t until 1999 that I decided to enter the fine art market and approached Washington Green with my portfolio. Since joining them they have published over 40 of my designs and are currently developing some of my art into sculpture.

“If you don’t want anybody to know anything about you – don’t write a song!

I can’t remember where I heard this quote, but it serves well to explain how one’s personality is revealed through a song, or in my case, a painting.

I’m naturally a shy person and find it difficult to articulate my thoughts verbally. When I’m put on the spot and asked to explain my work, I usually end up a gibbering wreck, cursing myself later for my lack of verbal dexterity. My true personality reveals itself through my paintings.

Many of my paintings are about good and evil – innocence and malevolence. When I was a child I remember believing what a wonderful and happy place the world was. I loved to learn about other people in other countries and wanted to visit them all. Of course, I now realise things aren’t quite as I once imagined, and the once distant places where I so wanted to be are not so far away; they are actually on my doorstep. The people I wanted to meet are locked in a bitter hatred of each other, divided by race or religion. The world is a place where the innocent pay the heaviest price. It affects me deeply. It’s like living in the garden of Good and Evil. I can’t ignore it, so I depict it in the form of these innocent pictures. I leave it to the individual to look at my paintings and choose what they would like to see, innocence or malevolence – the ‘good’ or the ‘evil’!

Above all else I am, and always will be, an eternal optimist. Optimism is one of the greatest gifts we possess. When I think about it, I think of the song ‘Fields of Gold’ by Sting – the lyrics sum it up!

These two opposing juxtapositions ultimately explain many of my paintings. Look at the ones which have malevolent titles – mainly the evil cats. To me they are representations of evil. However, at first glance, the impression they exude is optimism. The wide-eyed cats and dogs always look petrified and are representations of the innocent. You can choose to see these paintings any way you like. See love and happiness or death and the Devil, it doesn’t matter so long as you see something and connect with it.

This is where I draw a connection between these paintings and my abstract paintings. I would like you to see whatever you see! You get the most from a painting if it connects with you. When you look at an abstract painting, you can see nothing, or you can see it all – it’s either for you, or it isn’t! For me, this simple philosophy sums up what is art and what is not – you either like it or you don’t! My paintings are from my soul and I hope, honest!

Before I begin a painting, I start with a very rough preliminary colour sketch, which I may have done weeks or months ago. I keep my sketches along with notes and ideas in dozens of sketchbooks. The books are overstuffed with ragged bits of paper containing ‘those thoughts’ that just pop into your head un-announced at the strangest times.

With the aid of my sketches, I know exactly what I’m going to paint when I’ve pinned up my canvas. It is very spontaneous. I have all my colours pre-determined. I use solid oil bars directly onto canvas, manipulating the paint with my fingers, using no brushes. The paint reacts with the heat from my fingers and the more you work it, the more fluid it becomes. It’s a wonderful and unusual medium to work with.

Composition usually begins life as pure abstract shapes. Flow of line and form, as well as negative shapes, are important here. I also look for connections between shapes and link them with connecting lines. The balance and harmony of colour pull the whole composition together. The end result is part defined and part abstract.

In my ‘pure’ abstracts I look to nature and emotion, and build on that. From life seen through the window of a speeding car, or the blurred reflection of a city seen through bleary eyes, to the depiction of a single moment of intense emotion expressed through layers of paint. It’s a very pure art form.

I wake up around 7.30am and listen to the news on TV, which soon changes to Pokemon when my eight-year-old daughter, Eden, enters the room. My wife Sarah is already up and offers me a cup of coffee and a kiss before she leaves for work. Eden and I get up around 8am, and between now and the school run I try to organise my thoughts for today’s work.

I’m in the studio at 9.30am, where I put on a CD. I can’t paint without my music; it channels my thoughts into the work I’m doing. I need something loud and menacing today – ‘New Model Army’ does the trick! I’m working on a huge family of red cats. It’s a painting I planned months ago and even though the cats are defined, it’s still a very abstract painting. The cats all have evil eyes. They represent evil people, hordes of them. I call this painting ‘Legion’.

At 3.25pm I stop work to pick up Eden from school. After fixing her a bite to eat I finish off painting for the day, followed by a few chores around the house. When Sarah returns from work we both relax for a while with a large gin and tonic. Working the way I do can be an isolating experience and requires self-discipline. I can go for days without speaking to anyone other than my wife and daughter, which doesn’t really bother me. I actually enjoy it. I especially enjoy the reaction when Sarah returns from work and sees a finished painting, where earlier that day all she saw was a blank canvas. My wife and daughter are the first point of contact for my paintings. They are truly my greatest inspiration, and also my very honest critics.

At around 11pm I go into my studio, put on some music and look at the paintings still drying on the walls. This is my thinking time. It’s good to see them with ‘fresh eyes’ and in a different light. Sometimes I just look at them for hours. I always get something out of it, whether it’s a new painting or just a good night’s sleep!

Gloria Marojevic

I have many wonderful memories of my childhood creative moments. My father enjoyed painting; Most children set against hills and ships at sea. The paintings were taller than me and the painting seems to be huge for me then. Around the age of 8 I remember clearly the transformation of a piece of concrete in an exotic island by rubbing all kinds of vibrant green leaves and petals on the gray mass until it is alive with color! 

At age 18 he spent a year traveling in Europe, where the images of the sea and the sky, particularly in Turkey and the Greek islands, were so spectacular. I was impressed by the ever-changing beauty of the colors and shapes that present these scenes to me. Rosas, red, blue, orange and purple skies and seas, and every shade of blue and green waters that are constantly moving. I would sit for hours watching the evolution of light and images. 

I returned to Surrey and for the next 12 years commuted in London doing my career in sales and marketing. I am not loved, I totally absorbed in the heart of London life; I particularly enjoyed my years in the film industry. I love my people and the environment created a perfect opportunity for me to meet and interact with all kinds of different people. During this time my creative spirit of a new version is in Interior Design, after which he attended a course of the night in a school in London and became totally fascinated by the color. 

A little later I met my husband who is a great architect and photographer. In 1991 I began playing with his camera and soon developed a real love for photography. This advanced, and I had more than 400 photographic designs commissioned and published by the greeting card companies. 

The photographic work, what I do for pleasure revolves around my two girls, sea, sky and landscapes that are magically transformed by the sun. I was also drawn to the abstract forms of color, moving in close to find the simple beauty in shape and color. This could be literally anything! In this way I have done a little close, photographs stone agate slices and was moved by the vitality of translucent colors and the natural flow of design abstraction. That inspired me to paint on glass, that the translation of light, movement and color in my work is perfectly expressed. 

In early 2001 I received a huge response to a series of encouraging Art Publishers. At this stage I was presented with a selection of addresses, however, the only company that wanted to work with Washington was green and now that my confidence had arisen Verde I went to Washington with my photographic work and my painting on glass with a very happy!

z Artist Information

Gillian McDonald is an acclaimed watercolour artist who specialises in painting the remoter parts of the British Isles. From the Highlands and Islands of Scotland to the English moors and the rugged coastline of Wales, Gillian is to be found seeking out the  dramatic landscapes and seascapes which are the subject of her distinctive paintings.

Gillian’s brooding landscapes are rich in atmosphere, evoking a sense of isolation and solitude, and each image is brought alive by her appreciation of the interplay between light and the natural environment. Her innate understanding of the subtleties of different light effects and her bold use of colour are the hallmarks that make for the harmony of her highly collectable paintings and  prints.

Ged Mitchell

Amazingly I find myself thinking about how I initially got interested in painting and how I became an artist. I say amazingly because it was never really meant to be – at least never in my wildest dreams! However, after taking the plunge in 1988 I have continued to make my living from my art, even though I didn’t get off to the best of starts by failing my 11+. I attended The Manchester Primary School and keen to encourage my flagging self-esteem, they offered me a place at art school. This was, however, turned down by my parents for all sorts of logistical and practical reasons, and with no creative or artistic family background it was quickly decided that a more conventional education was for me. What I got was anything but!

School life was dull with the exception of art, which I excelled in, and was looked upon well by the art teacher there. He singled out the talented from each year and saw to it that we received more lessons in art than the ‘brainy’ kids who studied more of the 3 R’s. So it seems that I am a product of my poor education and I have to say I wouldn’t have it any other way!

Gleaming precious little I left school at 15 years with no formal qualifications, never having sat an exam – something unthinkable today. I took a job as a photographer’s assistant and thought the position was a brief one, however, the seed was sewn and photography has been of great interest to me ever since. It has taught me much about composition and the use of light and colour to create a pleasing image invaluable in my work as a painter. My photograph’s are my sketchpad and are a constant source of reference.

My interest in art was rekindled in late 1979 when I was bought a small box of watercolours, and what started as a hobby then became my passion. Maybe it’s because the route I took was an unconventional one, but I am still uncomfortable with the title ‘Artist’. I see myself more as a painter and/or watercolourist.

My main outlets for my work were previously at local art centres and major craft fairs. I’ve also had a number of one man shows throughout the past 20 years.

In 1992 I opened my own art gallery, but after six wonderful years I found that my painting time was becoming less and less. I was instead being taken up by the day to day running of the gallery. So in 1998 I decided to go back to painting full-time which was a big decision for me, having grown accustomed to the steady income the gallery provided. However, painting is, and always will be, my passion and it wasn’t long before the commissions started rolling in again. Local established outlets continue to adorn their walls with my work – for which I am eternally grateful.

I believe that the fact that I had no formal training was actually an advantage not a disadvantage as I had first thought. Being allowed to explore only areas that interested me, following my gut instinct and taking my inspiration from artists that I admired. The net result was that I was able to develop a style of my own which has evolved over the years, but still maintains the key features that make it distinctive.

When I set out to produce a painting I hope that it will firstly, be pleasing to the eye, but secondly, it must also contain elements of mystery. It must contain areas that challenge the imagination of the onlooker to delve further, making them decide where and what detail to manipulate in the minds eye. Surely as a race we would never allow art to become just décor and we wouldn’t want it to become too thought provoking either – but perhaps a little!

As a landscape painter living in Cheshire I don’t have to look too far for my inspiration. It’s on my doorstep and the ever-changing light and seasons in this country make it a painter’s paradise.

Rarely does my work depict a particular place, but surprisingly within each piece there’s a curious familiarity – almost convincing us that we have been to or seen this place before. I suppose like a lot of artists, what my work represents is escapism. Maybe something deep inside conjures up the images portraying the idea of a safe haven – a good, calm, peaceful place.

My love affair with the Greek Islands continues and I visit regularly for major relaxation and battery recharge. It works wonders, although it is never long before I reach for my paints or my camera!

The thought of applying the first brush strokes to a blank canvas or piece of paper can be a very daunting one both for amateur and professional painters alike. For me it’s the best bit. With my palette of just six colours I start by applying several very wet washes randomly with no clear thought of what is going to take place at this stage. I know with experience how the colours will react with one another and what effects can be created throughout this procedure. Timing here is fundamental.

Manipulating these early washes to create the initial areas of interest is great fun, after which a bit more thought is required in organising the focal points and building up the painting to its conclusion.

It really is an interesting way of working, but at no time is success guaranteed – unlike other media. If a watercolour goes wrong, the more you do to rescue it the worse it gets.

My working day starts between 9 and 10am, and apart from a small break for lunch around 1pm I continue until around 6pm Monday to Saturday. Like many of my fellow artists, music plays an important part in my life and I can’t work without at least the radio on. My studio is in a small old mill, not far from where I live which is very convenient. It’s superbly lit, very private and virtually guarantees me an uninterrupted working day – everyday!

Working as I do – mainly from imagination and observation – I tackle one piece at a time until completion. Stopping for a break has resulted in more than a few disasters and a few swear words too. So I rarely stop until I feel the painting is finished. Having the discipline to work continually like this means that I don’t have to stare at walls or cut my ear off to be inspired! The discipline is easy, as I love what I do in the studio.

I enjoy eating out and having a drink at my local with friends, or even taking in a movie or watching a live band (which I do as often as I can). When I’m not doing these things, I’m often playing my guitar, which is another passion of mine and has been for years.

Elaine Jones

Ever since I can remember I have always wanted to paint. At school I spent much of my spare time in the art room. Once in the sixth form I was advised to do a Foundation Course at Newcastle-Under-Lyme where I was awarded a distinction along with the Fine Art Prize. I was very lucky and had a fantastic tutor who encouraged and gave me the confidence to pursue life as a Fine Artist. I was taught to experiment freely with an unrestrained approach. I continued my education at Loughborough University where I became interested in studying landscape and developed a taste for travel when I spent six months of my degree studying at Granada University in Spain. When I graduated I sold my degree show to ‘Welcome Break Hotels’ which gave me the boost I needed to pursue painting as a career.

Since 1998 I have been based in Bristol in my city centre studio where I have experimented considerably from abstraction through to figuration and collage which included sticking computer circuits onto my paintings. All of this contributed to the understanding which I feel I have now reached within my work today.

My paintings are primarily abstract, although my new work contains references towards landscape. My partner is also an artist and we both spend time researching our subject matter through travel and by both being self employed we find that we can be more flexible with our time. I get a lot of my inspiration during these periods and spend much of my time sketching, although I rarely use this information to literally translate into a painting. My work doesn’t draw reference to any particular place.

Colour, alongside texture, is the main ingredient to my work. I am particularly interested in the contrast between heavily textured areas and the very flat, serene and blended areas of paint. Many ideas for my palette stem from colours experienced in different places, such as those from the Mediterranean, Africa or the South of England. My friend has a cottage in Cornwall and I spend as much spare time as I can in the summer sketching, occasionally dolphin spotting and speeding on my little dingy over to Padstow.

I get ideas for my work from everything and anything. Building structures in the city or random objects, in contrast, to more natural subject matter give me constantly varied compositional ideas for my paintings.

When painting a picture I rarely have the end product in my mind, my work develops spontaneously and the painting is finished for me when it works. My paintings are made up of layers and as I paint in oils I tend to work on more than one at once; this helps me to be less precious and less likely to overwork them.

Each series of paintings generally tend to be linked with a particular theme, idea or colour palette. I push these ideas to make sure that my paintings are constantly changing and developing. My techniques vary from painting to painting. When painting I very rarely use a brush and instead put on and take away paint by scraping card, rags or poured paint across the surface.

A typical working day in my studio is often nine till five and not at all glamorous. I usually work to a routine and I am not very good at interruptions. When painting I like to stick at it until I have achieved an end result.

I am based in a lively studio which is a constant source of inspiration with artists producing anything from resin jewellery to installations of singing trees. I share with forty other artists and it is always busy and varied. Coffee breaks are often spent exchanging ideas and criticisms or at least discussing the events of the previous weekend.

Domenech

I was born in Barcelona in 1952, and come from a working class family. My grandfather together with my father, had a little carpenter’s workshop in the centre of Barcelona. I therefore practically grew up inbetween the wood, furniture, glue, sandpaper and varnishes used in the workshop. This workshop has been the principle source of economy for my family since 1989.

Although I studied, like all the other children in Spain in the 1950′s, all my education was directed to the carpentry trade, following in the family tradition. But I have to say my passions were for art and design and I was not very good at Mathematics and other subjects.

I took drawing lessons (Technical design) from a private teacher who was a close friend of my father, and had in fact taught my father painting when he was younger. He too had a love for the subject. My father had painted at least thirty canvasses and I remember as a child how we used to visit the exhibitions on Sunday evening’s to see his work. This was as routine as our weekly Sunday evening family walk.

When I finished my professional education in wood work I spent some time in the Tarrega Academy where I perfected my drawing and I learned the technique of charcoal drawing. I would draw over and over the shapes of sculptures such as David’s Miguel Angel, Milo’s Venus, Seneca’s head and many more. This learning served a basis for the next three years, where I studied design at the High School of Arts and Crafts in the Masana School, Barcelona.

My professional life as an artist began in 1989, when I left the carpentry business, and dedicated myself full-time to painting. In 1974 I presented my work to the Sala Pares – a prestigious gallery in Barcelona, which was a great opportunity for any young artist under the age of 30. The selection of my work was a pleasant surprise to them, and it stimulated me greatly as it was the first time that any of the public had viewed my work.

In 1985, under the presidency of Juan Antonio Samaranch, I entered a competition that was dedicated to sporting artists (I had a federal license to participate in sporting events in table tennis and mountain biking). The competition was held because Baron Pierre de Couvertein, the initiator of the modern olympic games, wanted to re-create the relationship between art and sports that had existed in ancient Greece. I won first prize in that competition and that award allowed me to introduce my paintings to many art galleries. After this competition came many more like it, as well as numerous exhibitions. I was lucky that just that one painting exposed me to all of that.

The thing that really inspired me to become a painter was Vincent Minelli’s film ‘The mad man with the red hair’, based on Van Gogh’s life and his relationship with Gaugin. Together with a close friend of mine, who was also interested in art, we used to take boxes of paints (I took my father’s oils box) and head for the countryside to paint ‘au plein air’ landscapes which we captured in an evidently ‘impressionist’ style.

We did this for approximately two years, however, when my friend and I reached the ages of 19-20 years old, life changed the way we looked at things. Events such as first relationships with the opposite sex, engagements, weddings etc. made me concentrate on more reflexive paintings, (atelier painting). This led me to paint still life subjects such as compositions of fruits and domestic objects. I used to alternate this with drawing figuritive subjects twice a week at Saint Lluch (Circle of Art). I was active member of this association for three years.

What do I want to express with my work?

Well, I always try to go deeply into myself, searching for the equilibrium, the simplicity – to show just the basic element. I express myself through objects, elements, figures, different situations, feelings, balance, meditation and self-reflection. I want to express peace and quiteness, and for this, when I began painting, I painted the female form and femininity. Women give to me that peacefulness, sensibility, sexuality, and the maternal instinct. All of this stirs my emotions and provokes the need in me to trasmit my feelings on canvas. I want to make people understand that my figures are not just a woman – but a feeling of love, peace and shyness. In order to get that feeling my models never look directly at the observer, they have the eyes semi-closed in a way that mantains her discretion and intimacy…..her feeling of privacy.

I spent most nights working in my studio, a short distance away from my home. My work could have been classed as too academic up until 1978 when an important event occurred for me that changed my style of painting – the birth of my first daughter and following that two more children in 1981 and 1986.

At this time the economy was not in a good state, and in Spain it was often said that “Hunger sharpens inventiveness. This was certainly true for me. I had to economize with materials and thus I began to work with oils in a way that I had previously only worked with watercolors (this greatly developed my style of painting). I applied the oil with rags, stumps or capes that were usually only used to varnish or polish the furniture. I used the colour very diluted with trementine essence, applying and eliminating it, and letting the paint dry many times over. This is how my technique began. Although it was purely an economical decision to paint in this way back then, this is now not a cheap way for me to paint. It is actually the opposite. I am not able to use a normal canvas, I have to prepare it first. Also, the pigment of my oils have to be pure and of the highest quality.

I believe that artists live their work intensely. It’s their passion 24 hours a day and is a way of life rather than a job. And, as time goes by this passion sharpens and improves the quality of the work more and more. I think that when the inspiration comes, it is better that it reaches you while you are working in the studio.

With regards to the routine of a regular day. I constantly have a notebook with me to take impressions and notes that cross my mind during the day. This helps me see the development through my drawings. From this notebook I can see that I bounce around the same ideas and have the same intentions for my paintings all the time even though I may not know it at the time.

My works of art are food for thought. A combination of emotions are reflected in my paintings. Work is such an important part of my life because, for me, there are still a lot of things to discover and learn.

Debra Stroud

I was born in Guildford, Surrey amongst the rolling hills and downland of Southern England.

My childhood was filled with the freedom to  wander the surrounding hills and downs, capturing the colours in my mind.

The sea fills my earliest childhood memories, and of holidays spent in Devon and Cornwall on huge sandy beaches.

The thunder of the crashing waves, salt spray and smell of the sea is a very energising force, firing my enthusiasm to recreate the essence of it all on canvas.

The sea and the elements that surround it, it’s rhythms, tides, the sky it reflects, and the enormity of its oceans. The mystery, the colour, the winds and it’s great unknown depths.

It’s about the feelings and emotions that are stirred within us and the illusion it creates.

The sea is an ever changing entity, constantly moving and forever flowing.

Art like music is a language that can bypass the linguistic framework reaching the parts that words seem to miss. Painting for me allows me to express feelings of hope, warmth, spirit and energy.

After leaving school, and various jobs later, I went on to study Psychology and Philosophy as a mature student at Sussex University in Brighton.

I have  worked in sales and marketing for many companies including ‘Thames Water’  in London. 

I have also been a weekly  air courier to New York with  ’DHL’, worked in Noise Pollution for a local authority and as a  freelance photographer,  including working as a ‘snapper’ for ‘The Windsor Express’ newspaper.

Due to their skill in marketing, my work has reached a very wide audience both in the UK and abroad.

I have been overjoyed to  receive an award for ‘Best Published Artist 2006′ and Best Up And Coming Artist 2005′ from ‘The UK Fine Art Trade Guild’. 

During this time I have gathered  a very loyal following who have bought both my originals and limited edition prints.

Daniel Campbell

Daniel was born in Glasgow in 1951 and studied at the Glasgow School of Art and then Glasgow College of Building and Printing.

He worked as an artist and lithographer within the printing industry until 1995 when he established his own studio and he now exhibits in galleries throughout the UK. His work can be found in private and corporate collections around the globe.

Further to his painting he also passes on his talent to other’s through his teaching courses in and around Glasgow, as well as having completed several instructional DVD’s.

Caroline Shotton

I have been painting for as long as I can remember. I lived on the outskirts of London which meant I benefited from being within easy reach of London Galleries and open countryside, both of which were a source of immense inspiration to me. As an only child I had the freedom to immerse myself in my work, I also received a great deal of encouragement and guidance from my Grandmother who raised me for which I am eternally grateful.

Early influences came from the old masters. I was fascinated by their realism and throughout my school years strived perfection.

When studying at Central Saint Martins my eyes were opened to new ideas and techniques. I was captivated both by surrealism and impressionism and much of my work now combines elements from these eras.

After college I worked as a freelance artist in the commercial sector, undertaking bespoke commissions from businesses throughout the country, from large abstracts to intricate murals. I enjoyed this as every project was different and I was often asked to produce styles and subject matter I would never have dreamt of had I been alone in my studio.

When my son was born I decided to concentrate on my gallery career. It has been lovely painting without a strict brief and my work has developed immeasurably, incorporating different aspects from my past commissions with the freedom to choose my own direction.

It may be a scrap of paper I’ve saved from a furnishing magazine or the disgruntled look cows give me as I pass them in the field that morning that inspires me to paint. I find myself constantly sourcing images, taking photographs and scribbling down ideas which I may use that day or in a year’s time.

I get inspiration when I least expect it, normally when I’m relaxing and not consciously thinking about painting. I wonder how I’d capture on canvas the way the light’s falling on my son’s hair or which techniques I’d use to recreate the decaying plasterwork on a disused shop front.

I am privileged to have been asked to undertake many different commissions throughout my career incorporating subject matter and methods I wouldn’t have considered alone in my studio. This has pushed me to unforeseen artistic tangents and given me an invaluable catalyst for the future.

I generally have a clear vision of what’s going on the canvas and my preparation involves collating reference material relating to the theme of the painting and some very rough preliminary drawings, although sometimes I sketch straight on to the canvas and allow the piece to develop of its own accord.

I use layers of paper, paint and varnish to accentuate particular areas and to create a tactile surface. This invariably takes time to dry so I work on a number of canvasses simultaneously.

I begin by a applying a subtle texture to the whole canvas using primer and tissue paper, roughly sketch out the composition and block in the larger areas of colour. The image is very abstract at this stage but I’m not precious about keeping within a particular line as this will change as the painting evolves. Next I work on the background design and the main image, paying close attention to balance their relationship as the more intricate backgrounds can easily become overbearing and detract from the whole concept of the piece. I then pipe a line of paint around the outer edges of the main image to differentiate it further from the background.

When it’s near completion I apply a layer of varnish and paint over the whole canvas to unite the background to the figure. While this is drying I step back and view the piece from a distance, this enables me to decide which areas need any tone adjustment, and to make sure the facial expressions are correct. Lastly, I work on the fine detail. The eyes are the most important element and finest brushstrokes can change the character and personality immensely.

We’re normally woken up around 6am by our son, Sam and after breakfast I normally do the household chores before taking him to nursery so I have no distractions during the day. I love working from home and even though the washing machine’s often whirring away in the corner of my studio, I don’t envy my husband’s daily commute.

I try to exercise every day and I’ll either go for a run or take the dog for a long walk. I find it really exhilarating and I can gather my thoughts before starting work around 9.30.

I usually collate my reference material and prepare my canvasses the night before a studio day, applying texture, working out rough compositions and applying block colour. This means they are dry the following morning and I know I have the whole day ahead to work on the intricate areas.

I was a choral scholar at college and classical music has always been of great inspiration to my work and to this day I can’t paint without it. I often lose track of time when painting only to prompted back to reality when it’s time to change a CD or make another cup of tea as the last one’s been forgotten and left to go cold. I stop painting around 5 to pick Sam up and after he’s gone to bed I often go back in the studio and review my paintings with fresh eyes and prepare my canvasses for the next day. I look forward to my husband coming home to see my work as he’s (usually) a good critic. I have to discipline myself not to go back the studio after dinner otherwise I would probably paint all night. I’m normally tempted out when I hear him opening a bottle of wine though.

Caroline Cooke

caroline-cookeCaroline Cooke is a self taught artist who lives and works in Glencoe. Surrounded by the stunning scenery of this part of the world, she draws constant inspiration from the ever changing weather and landscape.

Favouring chalk pastel as a medium she captures the vibrancy and detail of the mountains, the dynamism of the sea, as well as the light and mood of the West Coast of Scotland.

When not producing artwork she is a busy mother of two who enjoys nurturing her budding little artists.

Arie Vardi

Born in Chile, 1956. After graduating in Graphic Design in Jerusalem he became a member of a Kibbutz on the edge of the Negev Desert where he began to experiment with jewellery.

His paintings are mainly landscapes, inspired by a deep connection with the Scottish countryside and in particular with Perthshire and the West Coast. He begins with sketches on the spot and reference photographs. These are taken back to the studio with the aim to capture the mood and emotion felt when originally contemplating the scenery. This in turn creates a constant change in the work. The elemental form of the land, especially the connective points of the sea and shore or hill and sky, is of particular interest.

Colour and vibrancy are essential to the work and these in turn are inspired by Arie’s Mediterranean roots. Many of Arie’s fine works are in private and public collections.

Bill Bate

Born in Liverpool in 1962 Bill Bate graduated from St. Martin’s school of art with a BA in fine arts .

He works largely with oil and his particular characteristic is the nebulous smokey aurorer surrounding striking life forms which is enhanced only by his exquisite use of brush strokes.

Bill’s work has been exhibited and sold in galleries throughout Europe.

He  lives in Tooting south London.

Iain Holman : This Is My Time

this-is-my-time

this-is-my-time-interior

This Is My Time by Iain Holman

Original Painting on canvas

Size: 113cm x 88cm

Price: £4200

I Love This Painting
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Buying artwork is a wonderful experience. Our specialist advisors here at Breeze are here to guide you through the process and help you with any questions you may have. If you require more information on any piece of art one of our team will contact you within 24 hours to discuss your requirements.

Iain Holman : Sunday Morning

sunday-morning

Sunday Morning by Iain Holman

Original painting on canvas

Size: 113cm x 88cm

Price: £3500

I Love This Painting
call us free now on 0800 1300 345 to discuss your requirements

Buying artwork is a wonderful experience. Our specialist advisors here at Breeze are here to guide you through the process and help you with any questions you may have. If you require more information on any piece of art one of our team will contact you within 24 hours to discuss your requirements.

Iain Holman : Starting Out

starting-out

Starting Out by Iain Holman

Original painting on canvas

Size: 102cm x 76cm

Price: £4200

I Love This Painting
call us free now on 0800 1300 345 to discuss your requirements

Buying artwork is a wonderful experience. Our specialist advisors here at Breeze are here to guide you through the process and help you with any questions you may have. If you require more information on any piece of art one of our team will contact you within 24 hours to discuss your requirements.

Iain Holman : Self Portrait – Graffiti Art

self-portrait-graffiti

Self portrait – graffiti art by Iain Holman

Original painting on canvas.

Size: 88cm x 88cm

Price: £3500

I Love This Painting
call us free now on 0800 1300 345 to discuss your requirements

Buying artwork is a wonderful experience. Our specialist advisors here at Breeze are here to guide you through the process and help you with any questions you may have. If you require more information on any piece of art one of our team will contact you within 24 hours to discuss your requirements.