Did you always know that you would be an artist? Where did your involvement in art stem from? 

As early as I can recall I was drawing at any opportunity, so art has always been a natural instinct.

You went to Art College, what was your experience like? 

I went to De Montfort University in Lincoln to study for my Fine Art Degree, as a mature student amongst 18 to 20 year old students, I was at first isolated because of the age gap, but as we progressed through the first few months, we all became a tight group where age was no barrier.

It was a most wonderful experience, at times stressful and at others hilarious, I remember the whole three years very dearly. I learned so much about the history of art, sculpture and my chosen medium, oil paint, after experiencing the use of every type of paint and application, we were never taught how to paint as is commonly believed, if we wished to paint, we were expected to strive to that end independently but were importantly encouraged to look, see and feel as a prime target.

You have a mix of abstracts and more landscape artwork, what do you enjoy creating the most and why? 

I love painting in either style, I find the abstract pieces much more difficult as the work comes from an idea, shape, notion or colour. Initially in the making I create my own complicated ritual which is essential for the work to develop, as I produce problems which I resolve one by one, during this process I make discoveries which are juxtaposed between experience and experimentation where eventually the painting takes on its own identity and ultimately dictates its own resolution. Not to say the landscapes are easy because they come through a fleeting memory and imagination. In these Landscapes I make depictions from childhood memories of panoramic skies, the sizzling stillness and silence of a summers day, the horizon reaching far into the distance and the sensation of being there, then there are the raging elements to consider, the power and majesty of the skies, clouds rolling and changing constantly as they pass.

Who and what are your main inspirations?

When I was studying art I was very much inspired by 1930-40 Abstract Expressionists artists Barnett Newman, Clyfford Still and Mark Rothko, mostly of color field painting, If you have ever visited Mark Rothko’s work, the brooding serenity, the quietness and the presence in the work is extremely emotional.

Regarding landscape painters, there can be no other than Turner, a genius who has never been equalled. But it is very important not to be too inspired by other artist’s work, but to strive to develop your own meaning and style.

Could you please describe the practical process you go through when making a painting? 

The first thing is to make sure the studio is clear of distractions, space for the work, easel and my large palette, oil paint selected and prepared, brushes and palette knives set out in a clean environment.

I start working on the painting, and continue for one or two hours taking regular breaks so I can go back to the painting to see it with fresh eyes to decide if it is going in the right direction, I may then decide to alter the format for a variety of reasons, at times it is important to keep going with a painting before it begins to dry, so late evening work is often required, it is important not to be diverted by an interesting mark made so as not to alter the original intention and descend into chaos.

Depending on the complexity of the work, the length of time they take varies from three days to three weeks, as sometimes an area would need to dry before I can continue as I largely paint in oils using a wet in wet technique.

What does a typical day look like for you?

Painting until noon, then on into late afternoon, each day is the same if I am painting. Some days spent considering what I will be painting, sketching ideas on paper, thinking, browsing previous work, so as not to duplicate an idea and most important to me is complete concentration.

This is just a quick blog post to let everyone know that Art2Arts will be exhibiting at the Reading Contemporary Art Fair again this year.

Taking place over the weekend of the 27^th and 28^th of April at the Rivermead Leisure Complex in Reading this event is even bigger and better than previous years. Launched in 2010 as a sister event to the Windsor Contemporary Art Fair, the event brings together an eclectic mix of over 90 artists and selected galleries all to exhibit and sell original works priced between £40 & £4000.

Attracting exhibitors and attendees from across the UK and throughout Europe the fair acts as both a networking and sales platform as well as a fantastic opportunity to try out some new techniques for yourself. Exhibitors and visitors alike are encouraged to get involved with the interactive sessions through the duration of the fair, which include workshops in printing and drawing hosted by Readings very own artists group Jelly.

In addition to all the workshops and exhibitions acclaimed artist Este MacLeod will be creating a completely original piece from scratch over the course of the weekend. All visitors are encouraged to contribute a small piece to its creation, then on completion the work will be hung in a public space to be enjoyed by all.

“Having done this fair before I can’t wait to take part again this April,” confesses Michelle. “It’s so wonderful to see such a wide range of art on display but also to get to talk to so many artists and art lovers. Whether you are an artist yourself, a collector or a home owner with some blank walls to cover the Reading Art Fair is without a doubt, worth a visit.”

We would love it if you came down to support Art2Arts but also to enjoy the fair as a whole as it’s a fantastic day out. Tickets are available at a discounted price of £6 if bought in advance or are £7 if bought on the door.

For more information visit http://www.readingcontemporaryartfair.co.uk or call 01753 591892

View more artwork by: Stephen Quick 

Art2Arts is excited to announce that long time contributor Michael McEvoy has recently received a ‘Highly Commended’ from the EAC Art Awards for his painting House Sparrow.

The EAC Art Awards are run by the Elderly Accommodation Counsel, a national charity that helps older people make informed decisions about their housing and care needs. The charity have been running their Over 60’s art award for almost 20 years now and have seen over 28,000 amateur artists between 60-104 battle it out to be crowned winner in their specific category. The EAC believe that the Art Award for the over 60’s is important because, “ it demonstrates that talent, energy and enthusiasm, along with a continuing purpose in life, belong to those in later life as much as to the young.” We couldn’t agree more.

Michaels painting is currently exhibited at Long Eaton Town Hall as well as online at http://eacartawards.org.uk The painting itself follows Michaels usual style and subject matter by featuring a figurative portrait caught in a moment of imagination, real life experience or fond memory. In this case the tale of Janet, an unwell heroine whose life lead her to spend much of her time watching life pass and change from the window. One astute viewer described the piece as, “A super and strange painting.  Strong colours and pattern contrasting with the modern Alice in wonderland girl. I loved it.”

We too re huge fans of Michaels work and are excited that he has got so far in the competition this year. With a return rate of over 50% we are sure that Michael will continue to enter and thrive for many many years to come.

To find out more about Michael and to view his work visit: http://www.art2arts.co.uk/artists/michaelmcevoy or to learn more about the EAC and its annual Art Awards visit: http://eacartawards.org.uk Who knows, one of you could be announced as a winner in 2014!

Did you always know that you would be an artist? Where did your involvement in art stem from?

During my childhood in West Africa where we lived on plantations I began painting and won a competition aged 4 years old from a painting, which my mother posted back to England.

I painted African ladies in their brightly coloured clothes carrying pots on their heads.

When we returned to England, at junior school I was awarded with 2 special book prizes from the Royal Drawing Society.When I was 13, I won a competition for painting pastel portraits of the Beatles on television and had a signed letter and a record token.  I recently found the film clip on You tube of John Lennon standing in front of my pastel portraits of all 4 of them, being interviewed on Ready Steady Go which was before Top of the Pops

You went to Art College, what was your experience like?

I went to Art College where the classes were mainly boys only 2 girls in our class and I had been at an all girls convent school.  I worked very hard at all the classes in drawing, painting, sculpture and design.

I think then I was considered a bit reserved, good at my artwork, but a bit of a square!  I soon came out of my shell though a few years later.

How did your interest in landscapes and seascapes develop?

I made my living at art. First, at portraiture as after completing my teaching qualification and art college, I wanted to be self employed then, and planned to teach later in schools BUT due to a divorce at the time and the death of my father I was more suited to working on my own steam…

I painted woodland and rivers in pastels,watercolours and oil……

I painted portraits in pastels and oils, of children, animals and some celebrities and very important people from sittings or photographs including Margaret Thatcher, The Mayor of Westminster the Queen ,a World Judge, an African King and Prince Charles and Princess Diana.

Then I painted portraits in the prep schools and the public schools travelling the country and then decided I wanted a change and concentrated on places instead.

I travelled to many places in Southern England and developed a range of nearly 200 watercolour and ink paintings which I began making prints of which I sold enough to eventually buy a house .2 years later I leased a gallery in Cookham High Street, Berkshire where I sold my artwork and other artists work for 8 years.  Alongside this I did pet portraits, London scenes and imaginative paintings of seascapes in Cornwall and African jungle and figures in rivers, waterfalls or over water. I had exhibition s in large public buildings, Leisure centres, town halls, art centres cinema foyers and a London Gallery , libraries ,hotel foyers and on the Hyde Park railing in London on Sundays The seascapes developed out of this and were tropical in  colour like the John Miller prints which are very popular.

I also did sunsets tropical, abstracts, and textured gold glazed poppy fields and   London scenes from the river Thames of Westminster.

When circumstances necessitated that I move to the Isle of Wight I painted the real sea and beaches where I walked for miles everyday, soaking in the changing colours of the sea, sky and sands.

This is why my paintings are now peaceful and relaxing to the mind as leaving all that hard work behind I now paint therapeutic paintings which I hope are relaxing to others as I have been told they are.

Who and what are your main inspirations?

I think I’ve covered my inspirations in the last answer really, although I am interested in the de-stressing effects of art and music.  I paint to create something beautiful not to shock or make a political statement.

The escapism of tropical Gaugin paintings,the atmosphere of Turner,

Many paintings online of land and sea but mainly my inspiration comes from my own mind which it always has all my life.

Do you paint from life, or photographs, or both?

From life and memory mainly but some photos of boating, architecture or close up people, details

Could you please describe the practical process you go through when making a painting?

Well what I am describing is how I paint now….. the seascapes

Once the horizon is established I lay in the background colours of the sky sea and the foreground and then just paint, I have an idea in my mind and paint from memory, only using reference material when I have to.. .   I find the painting evolves as I do it and I do not draw any detail but paint straight from the brush. I do find that if I paint straight after walking on the beach the colours combinations work as I memorise them all….

I use loads of brushes ,some large and occasionally palette knives but all the texture is in the paint..  I do not use other media for texture……

What does a typical day look like for you?

Drag myself up and out for strong coffee which charges the brain and the ideas and inspirations come from watching the sky and waves and the colours of the day and then go back to the studio and paint, after lunch  go for an afternoon walk on the beach and then return to the painting and sometimes continue in the evening as well.   This is the normal routine but of course it varies according to the need for trips out in the car to galleries, shopping appointments etc……….

Do you sell internationally?

Yes

Anything else you would like add:

Yes…. It is not an easy way to make a living as an artist but it is emotionally rewarding as people are so appreciative and it is a way of life, you are never bored, you are constantly observing and mentally painting all the time….if you are a trained artist you are far more observant of everything  and this spills into all areas of your life……

Talking about materials and technique ….. It doesn’t matter what you make art with really  (t hink of cave paintings or drawing on walls) its what come from the brain/mind not how you represent something…. The knowledge of colour ,tone, scale etc comes with so much practice that you don’t think about it you just do it and you know when it is right….if you are hung up on technique you cannot get the emotional feel or spirituality coming through in a painting…..

I could painting the same view from memory and my mind everyday and it will always convey a different atmosphere, mood, light every time…..

I find that acrylic offers more scope for less realistic subjective sea and beach paintings than watercolour but occasionally I feel I might like to return to doing some washy watercolour beaches.

View Sandra Francis Online Gallery

Artists & Illustrators magazine has been running their Artists of The Year competition with the aim of discovering hidden talents since 2008. Open to all artists, regardless of experience, this competition offers the chance to raise your profile and garner exposure for your work as well as taking home the coveted title.

Now in its 5^th year, this competition has earnt the reputation of being one of the UK’s most popular and prestigious open competitions with over 4000 artists battling it out in 2012 to be crowned Artist Of The Year. What’s more exciting for us is that one of our very own contributor, Moira Ladd has reached the final and her piece, Black Rock, Widemouth Bay, Cornwall, is being displayed on The Osbourne Studio Gallery (http://www.osg.uk.com) for all to see.

“I have three paintings on display in total, feedback has been positive but the competition is tough and the other artists are so talented,” explains Moira. “ For me the most exciting things about this years competition is that it has been extended by a further week, giving all exhibitors the chance to have their paintings seen by even more people.”

Having looked at the other works on display competition is tough but Moira more than holds her own. As many customers have said of her work, ‘it just shouted at them,’ and I am sure it will shout to visitors to the exhibition too.

From everyone at Art2Arts we wish Moira all the best and can’t wait to hear the outcome of the competition.

Artistic expression comes in many forms, this is evident from the wealth of talent and variety of works we have here on Art2Arts, but it is rare to see an artist straddle two such different fields.

Paul Shiers has been a contributing artist to our site for a while now and exhibits some incredible acrylic and oil paintings conveying emotions in deep reds, honeyed yellows and cobalt blues. But recently Paul has lent his hand to a completely different style of working. In partnership with writer Alan Wilson, Paul has crossed over from the art world into illustration to help bring to life Jasper and The Icklebots.

This fantastic children’s book explorers the friendship between Jasper and his Icklebot friends, Top Bot, Sparky, Bon Bon & Gru. I asked Paul what it’s been like working on a project like this, “It has been fantastic working on this project with Alan and exploring working artistically in a different form. Whilst illustration is technically different to the pieces I am used to producing the emphasis on colour and emotion is the same. Each of the Icklebots has their own personality and that is reflected in the colours we chose to assign them. I can’t wait to create a whole series.”

If you fancy taking a look at what Paul and Alan have created or want to buy a copy of their book, then you can visit their website www.icklebots.com or email them directly info@icklebots.com. Alternatively you can find them on Facebook http://www.facebook.com/pages/Jasper-and-the-Icklebots

We wish them both the best of luck with Jasper and the Icklebots and can’t wait to see what adventure they get up to next.

Art2Arts contributor Barry Andrews is undertaking a new set of seven paintings influenced by Greek architecture as part of an exhibition he is taking part in in April at the Hellenic Centre, London.

The Hellenic Centre is a vibrant cultural organization founded in 1994 with the aim of providing a focus for the Hellenic community. The centre works with the community to both raise the awareness of Hellenic culture in the UK and nurture the unique relationship between Britain and the Hellenic world.

The 7 pieces Barry is creating are a departure from his usual style and colour palate. These new works are dominated by black paint made from a mix of Prussian blue, burnt sienna and damar varnish and have taken a considerable amount of preparation in order to complete. “I have been to the library of RIBA and the British Museum collating photographic references and working drawings to use in the construction of these paintings,” explains Barry. “The change in palate and style is a welcome challenge and I am excited to see the paintings on display at the Hellenic Centre.”

The Hellenic Centre prioritizes work by its members for display in the Friends Room, although work by Greek and Greek Cypriot artists who live and work in the UK and who are not affiliated to a Gallery are also invited after consideration. The same hand of opportunity is extended to foreign artists whose work is inspired by a Hellenic theme, much like Barry.

We wish Barry all the best for the exhibition and encourage all Art2Arts members who are in the area or fancy taking a look, to visit in April. If any other Art2Arts contributors are featuring in other exhibitions or events of interest them please let us know.