RECENTLY ELECTED PRESIDENT OF THE ROYAL WATERCOLOUR SOCIETY – THE FIRST WOMAN TO HOLD THE POSITION – WE FIND OUT HOW SHE BALANCES PAINTING AND LEADERSHIP.
Could you briefly describe how you became a painter?
I did a two-year foundation course at Colchester School of Art. We had some fabulous staff, and artists such as John Nash and Edward Bawden would come in for a day and teach. That was very influential for me. This was in the 1960s. At the time, I wanted to go to London and study graphic design. I got accepted at the Central School of Art and Design for the graphics course and, when I’d finished, I got a job at a publisher doing book layout and typography.
What made you give up publishing and return to painting?
By 1996, publishing had changed. And, also, I had been doing it for some time and I found it quite restricting, however lovely the books were. You were dealing with other people’s work. I wanted to do something that was mine, and get back to what I used to enjoy: drawing and painting.
Did you find the return to drawing and painting difficult?
Not at all. It’s a bit like riding a bicycle, you start again where you left off. You just need confidence.
Is drawing still important for your work?
Diese Geschichte stammt aus der October 2017-Ausgabe von Artists & Illustrators.
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Diese Geschichte stammt aus der October 2017-Ausgabe von Artists & Illustrators.
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Still life IN 3 HOURS
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Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
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Washes AND GLAZES
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Hands
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Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
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The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
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