Summer Flowers by Nicola Osborne is a delight for the eyes. I recently had the pleasure of sitting down with Nicola to chat about all things art. Here is our “in conversation.” I hope you enjoy this blog!
Q: Can you walk me through your typical creative process from conception to completion?
I mainly create intuitively. My paintings often begin from a photograph or a sketch from nature. The subject matter dictates color and form, and I go from there.
Q: How do you overcome creative blocks or challenges during your process?
I generally find that if I push on through, I will create something. I may discard the final outcome, but the creative block is broken. I tend to work in a variety of styles; therefore, changing either subject matter or technique may also help.
Q:Are there any rituals or habits you have while working on your art?
I don’t tend to have rituals about creating.
Q:How do you decide when a piece of art is finished?
Do we ever decide? Often the piece dictates to you when it’s finished. We just need to be able to hear that. It is often the pieces that we overthink that become those we wish we had finished when the thought entered our heads.
Q:How has your creative process evolved over the years?
Yes, it has. I was a painter who often worked in a more representational way. Now I create in a semi-abstract and abstract way. I am now more experimental and confident in my practice.
Q:What part of the creative process do you find most satisfying?
As an intuitive painter, I enjoy the unexpected nature of mark-making and the emergence of form and shape. I am immersed in the evolution of an image just through the use of lines, marks, patterns, and glazes.
Q:How do you balance planning and spontaneity in creating your art?
Of late, spontaneity is a byword for my practice. I have a vague idea of an outcome, be it through color or subject matter, but on the whole, the painting develops almost organically.
Of course, a somewhat more refined process happens when I am given a commission. But there can still be an opportunity to search for the unexpected in the process whilst keeping to the client’s guidelines.
Q: How do you manage the practical aspects of art making, like storage and studio space?
I’m not sure I do that very well. If you were to ask my family, they would say that I have taken over communal spaces for creating and storing, somewhat evicting them. However, they are very supportive of my need to create.
Q: Can you explain your research process when starting a new piece?
That really depends on what the piece is. If I am working in a more representational way, I will start with reference photographs and drawings.
However, if this is an abstract, more often than not, I will start with a theme that has captured my imagination, such as location, movement, etc., and go from there.
Q: How do you incorporate feedback into your creative process?
As with most artists, I tend to work alone; feedback is often in short supply. I do try to show my work as often as possible, and mostly I receive positive feedback. As for detailed critiques, that is more difficult to come by.
Q: Who or what are your biggest artistic influences?
I absolutely love the work of Kandinsky, Klee, and the Italian Futurists. Their use of colour, shape, and movement has had a huge influence on my work.
However, I am also a devotee of Rembrandt’s techniques… those glazes and underpainting!
Q: How do you find inspiration when it seems to elude you?
For me, inspiration generally comes from the way that paint on a surface creates a story. I don’t tend to wait for inspiration; I work, always hoping to find it.
Q: Can you describe a moment of inspiration that led to a breakthrough in your work?
Yes, I can. A while back, I was an artist in residence at a secondary school. A really pleasurable experience. This allowed me the freedom to explore themes I would not otherwise have. With this came the development of an abstract style that I am still adapting to this day.
Q: Could you explain the concept behind one of your most recent works?
Painting both in a representational and abstract way, concepts vary dramatically.
A recent commission I undertook was inspired by my re-evaluation of some old paintings, which I decided to paint over. The underpainting, therefore, dictated the marks and shapes that emerged in the finished work. With this in mind, I followed the principle but on a pristine canvas.
The clients seemed very happy with the final painting.
Q: How do you choose the materials you use for your pieces?
With so much choice for a mixed media painter like me, it is often difficult to limit oneself to a small number of materials. Yet, I have by default begun to work with a range of materials I feel most comfortable with.
I generally use acrylic inks, acrylics, and drawing inks on canvas. I find this combination allows my love of colour and technique to be fully expressed.
Q: Have you ever dramatically altered or discarded a piece of art you were unsatisfied with?
I have been known to paint over existing images, sometimes to the dismay of others. I’m not precious about old work, as I feel I have moved dramatically away from earlier pieces and enjoy the rebirth of a painting.
Q: What’s the most unique technique you’ve employed in your work?
Spray paint. I have been lucky enough to participate in a couple of Street Art Festivals. I can safely say that the largest piece I created was a real challenge, as it was predominantly completed using spray cans. And my goodness, it’s harder than it looks.
Q: What next after this exhibition?
I am also one of the organizers of an Artists Open Studios event later in the year.