Q. Can you walk me through your typical creative process from conception to completion?
My work starts with an early morning walk, photos and sketches, plein air painting, and then this information is used to inspire the larger pieces I generally do in my studio.
Q. How do you overcome creative blocks or challenges during your process?
A trip to a gallery always helps, or just walking the dogs early or in the golden hour jolts me into a feeling of ‘I just need to paint’.
Q. Are there any rituals or habits you have while working on your art?
Not really. Sometimes I listen to a podcast, sometimes the radio. Mostly, I like it quiet.
Q. How do you decide when a piece of art is finished?
I just know it feels finished. If I’m quibbling, then it’s not finished yet.
Q. How has your creative process evolved over the years?
My techniques have developed, but my thought process too; I notice and see more.
Q. What part of the creative process do you find most satisfying?
At the point when you find your mind is living in the painting and I’m zoning out
Q. How do you balance planning and spontaneity in creating your art?
My art is about capturing a moment, a feeling, an atmosphere. So, I hope that it looks spontaneous. The balance comes as I work, creating a focal point and an interest.
Q. How do you manage the practical aspects of art making, like storage and studio space?
My landscape paintings are in my Ardleigh studio, often stored in a corner or on the walls. My floral art is stored on a rack in my garden studio.
Q. Can you explain your research process when starting a new piece?
My academic framework is Biophilic Design and Art, research into how we respond to nature. That nature can benefit well-being. My work surrounds this theme and I research Biophilia, color therapy, and creating calming artwork.
Q. How do you incorporate feedback into your creative process?
I find that I am getting better at analyzing my work and thinking about what works, what to develop, and how to develop something. I have a Plein Air art group who give me constructive feedback, which is useful. However, I try to keep my head and progress through my own thought process.
Q. Who or what are your biggest artistic influences?
The Scottish Island painters, John Lowrie Morrison, for example, Constable, Karin Hoogesteger, Dutch artist
Q. How do you find inspiration when it seems to elude you?
As I said above, it’s about walking the dogs at sunrise or twilight. I find the winter months harder, and this winter, I used the time to experiment and develop ideas as it was so wet and impossible to work outside.
Q. Can you describe a moment of inspiration that led to a breakthrough in your work?
I had a weekend plein air painting a couple of years ago with a group, and I was hooked. I then captured a load of early morning sunrises in Dedham last May/June, and stood back and realised what I was doing, and it was a breakthrough as I knew exactly what I was doing.
Q. Could you explain the concept behind one of your most recent works?
Our lives are so much busier than ever before and can be stressful. Getting out into nature has a calming effect, but it is also said that even looking at nature through an image or film can have the same effect, and I am aiming to give the viewer a moment away, a moment of peace and calm.
Q. How do you choose the materials you use for your pieces?
I mostly work in oil paint on canvas, sometimes cotton, sometimes canvas, and I will be using more linen soon.
Q. Have you ever dramatically altered or discarded a piece of art you were unsatisfied with?
I tend to leave a piece and then re-work it later or when it’s dry
Q. What’s the most unique technique you’ve employed in your work?
The use of layering or glazing
Q. What next after this exhibition?
I have some more local shows and a fabulous opportunity to exhibit at The Makers’ Holt Gallery in Norfolk in October.