Ingrid Sanchez’s first studio was a storage room in the backyard of her parents’ home in the Mexican city of Morelia. She was nine years old and would while away hours painting in oils. However, it would be some 20 years before she would have her own workspace again and first use watercolours, the medium that has anchored her career as a professional artist. Ingrid now paints and teaches small classes at her home studio in West London, where she has been based for the last seven years.
It is a forensically tidy, bright white space dominated by plants although she’s in the process of converting the summer house in the garden into another area where she will work, too.
“I am a very organised and clean person,” she says proudly. “My students always say, ‘I thought artists were messy!’ It is very important for me that everything is where it’s supposed to be.”
Ingrid makes original paintings as well as selling her designs to – and working in partnership with – many Ingrid Sanchez leading businesses and brands. Her work can be found on homewares, thermos flasks and greetings cards and she has worked with the likes of Moonpig, Macy’s and Waterstones. Whatever the intended purpose, her bright, purposeful works teem with colour and movement. You’d also be forgiven for calling them “flowers”, yet Ingrid sees them differently: “I paint dots and lines. I do it in a way that makes you think you’re looking at a floral composition, but I don’t paint flowers. They just look like flowers.”
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Esta historia es de la edición July 2021 de Artists & Illustrators.
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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