The award-winning portrait painter reveals the inspiration for her art and the importance of sketchbooks.
When did you decide to be an artist?
I have a clear memory of introducing myself as an artist at the age of five. Because my mother was a painter, it didn’t seem an odd thing. It wasn’t until I was a teenager that I realised how hard it would be, but I was determined – or stubborn. The art in our house made a great impression on me. There were many engravings after Holbein portraits; they made me realise the power of the portrait. I still look at Holbein when I am working on a portrait drawing. I often make drawings after him in an attempt to understand how to create such a seemingly effortless line, but it is as elusive now as it was when I was a child.
Where’s your studio and why does it work for you?
My studio is in a farm in Cambridgeshire. I lived in London for 14 years so I enjoy the contrast of the countryside. It makes me think in a different way: distractions are stripped away and you are left with something more raw and direct, with a new kind of awareness of the land and the seasons. It has helped me to get closer to making the kind of work that I want to make.
Your new book Drawing & Seeing emphasises the importance of a sketchbook. How do you use yours?
Esta historia es de la edición November 2018 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor ? Conectar
Esta historia es de la edición November 2018 de Artists & Illustrators.
Comience su prueba gratuita de Magzter GOLD de 7 días para acceder a miles de historias premium seleccionadas y a más de 9,000 revistas y periódicos.
Ya eres suscriptor? Conectar
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
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
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
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
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
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
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
