CK Wood’s glorious poppy paintings are well-loved at Art2Arts. Though she’s a professionally trained artist with bags of talent, CK worked various jobs as she made her way to becoming a full-time painter. Here she reveals all about her process, inspirations, and artistic journey.

What were your experiences like at Leeds and Stockport colleges of art?

My time at college was essential for me – giving me time to experiment with different techniques, subjects and mediums. Studying surface pattern rather than fine art was a good choice for me too, as I loved the idea of texture in art and the experimentation involved in creating new techniques.

How did your interest in painting develop?

From a young age I always enjoyed drawing and painting – and excelling in art at school made me realise I did have a talent and I was encouraged by school to take it further.

How did you become interested in florals?

At college really. Previously I had enjoyed mainly drawing landscape and animals – but at college I had more mediums at hand and would experiment with water colours, acrylics and oils. And flowers were always available for us to paint, and I found I had a flair to paint them and loved the vibrancy of their colours and form.

How do you choose your subjects?

Quite often, it is based on how I am feeling that day, from what I have experienced around me – the colours and flowers I have seen and the feelings stirred in me. I do like to spend time within the peacefulness of nature, in a quite garden full of flowers, rolling hillsides or just a peaceful meadow or lake – watching nature and tuning into the beauty of it all.

Could you describe the process you go through in imagining, planning, and creating a painting?

I have a feeling or mood that I want to put to canvas – If I plan or think too much about what I want to create, then I lose the feeling, so I just go with the flow of the feeling that I have at that time and the painting develops that way. Though I guess I must follow some process, they are subconscious.

What are your favourite types of paints to use?

I mainly use acrylics – but I do have other mediums at hand which I also use to create the effects I want. Acrylics can be quite flat, so mixing them with texture mediums or gloss mediums can add vibrancy and depth. Oils, which I sometimes work with are great at blending colours.

Who and what are your main inspirations?

I love the moods and the romance created by the Pre-Raphaelites and the Impressionists. Though my inspiration is the natural environment around me.

What other jobs have you had?

Before making a living as a full time artist, as a single mum I had to keep working whilst trying to establish myself as an artist. I have had many jobs, mainly administrative work, but also call centre, debt collection, warehouse work and cleaning.

Do you every get creative blocks, and if so, how do you deal with them?

Occasionally I do yes – I get days when I have no inspiration or desire to paint what so ever. I sit down to paint and I am just at a loss to were to start and my heart isn’t in it. I have found the only way to overcome this, is to have a break from it. Otherwise its futile trying. Thankfully the desire and inspiration always does come back. If it didn’t then I would have to stop.

What advice do you have to young artists just starting out?

I think the best advice would be to keep trying and to keep establishing your style, keep true to yourself and your work and don’t let any knock backs effect you too much. If you work hard enough and keep at it you will eventually succeed.

See more of CK Wood’s popular poppies at her Art2Arts profile page.

Julia Everett, August Artist of the Month, is a firm favourite with Art2Arts customers. Her abstract landscape paintings, with their song reference titles, easily evoke nostalgia and emotion. Academically trained, Julia knew she wanted to be an artist from a very young age. She’s kindly agreed to talk me through her process and inspirations.

What was your experience at art college in Brighton like?I was very lucky to study Fine Art in Brighton. It was an amazing place to be, not only for its fabulous seaside location, but also for the quality of the degree course. We were all given generous sized studios to paint in and our tutors were all professional artists. We also had famous artists such as Bridget Riley and Patrick Hughes visiting for guest lectures and tutorials. It taught me how to work independently as a painter as well as all the skills needed for integrating in the art world.

How did your interest in painting develop?

I’ve always wanted to paint. When I was a child my dream was to go to art school, mainly because I liked school and loved art! I grew up as an only child and spent a lot of time on my own drawing and painting and making things. I left school at 16 and went straight to the local art college, which enforced my belief that art was what I was meant to be doing. I suppose I was always the weird kid so I fitted in perfectly! From there I did a foundation art course and then a degree in fine art.

How do you maintain a connection with rural landscape while working from London?

I grew up in Wolverhampton, probably the least rural place in England! But I spent a lot of my childhood escaping to Wales and Shropshire and I love the contrast between the city and the countryside. For me West London is quite rural, there are lots of trees and parks and my studio on the Thames Path in Hammersmith has its own river terrace. When the doors of my studio are open I can see the river while I paint. I also love to travel and spend lots of time in Wiltshire and Cornwall. I paint from memory rather than real life so I draw upon my experiences of nature when I work.

Could you describe the process you go through in imagining, planning, and creating a painting?

Sometimes I have a fresh blank canvas in front of me and have no idea what will happen, often this is when I make my favourite paintings! Other times I have a place in mind and the colours I want to use ready to go and I start thinking where I’ve been and how it felt. Usually it’s somewhere by the sea and often at twilight or sunset. Then I start listening to something on my ipod, lately I’ve been enjoying my Neil Young back catalogue. Other painting favourites are John Martyn, Joni Mitchell and Nick Drake.

What are your favourite types of paints to use?

I love colour and mainly use oil paint in vivid colours on un-primed canvas. I dilute the paint with a glaze medium and linseed oil to improve the flow and I build up the picture in layers, letting it dry in between. I like the way the paint can soak into the canvas and often take a path of its own. I use sponges rather than brushes and blend the paint together. Sometimes I splash paint around to give a looser feel. Lately I have been adding a layer of fluorescent acrylic to intensify the colours in my recent series of abstract sunsets.

Who and what are your main inspirations?

I am inspired by the sea and the sky and light on water and the feeling of being in a wild landscape. I have been really into the horizon lately. The eulogy at a funeral I went to recently described the horizon as a metaphor for life and death and the uncertainty of the future. I particularly identified with this as it made sense of my obsession with horizons, especially the dark horizon on the sea at night with the magical feel of otherworldliness that it has.
I always listen to music when painting and feel that this has a strong influence on the finished work too.

What other jobs have you had?

As an avid music fan most of my other jobs have involved it in some way, I used to work in a record shop and then as a bookkeeper for a music shop. I’ve also worked for Illuminate Productions, a not for profit art organisation who stage art and music events in unusual locations. I worked for them on Drift and the Merge Festival.

Do you every get creative blocks, and if so, how do you deal with them?

When I find myself a bit stuck I think its best to take some time out, maybe travel somewhere inspiring or just have a break from painting. Usually it doesn’t take me long to want to get back to my studio. Another thing I find helpful is some random action painting to see what happens and where the mark making will take me. Its good fun to splash some colour around!

What advice do you have to young artists just starting out?

Raise your internet presence, do as much as you can to promote yourself online and connect with other artists.
Facebook and Twitter are great places to meet artists and to find out about art opportunities.

See more luscious landscapes at Julia’s Art2Arts page.

Paul Bennett was Art2Arts’ featured artist for February, and his richly coloured semi-abstract seascape and landscape paintings are favourites with Art2Arts customers. In this interview he reveals all on his inspirations and process.

Penny – Did you go to art college? If so, where, and what was your experience like?
Paul- I went to the Surrey Institute of Art and Design, Farnham, Surrey. On a social level the experience was great. From an academic point of view it sometimes felt the tutors were a bit non committal when anyone was after any guidance or advice. It was the first year of tuition fees and we felt a bit crammed into the course. Studio space was tiny, but I think that’s standard everywhere.

How did your interest in landscapes and seascapes develop?
My in-laws moved to the West Coast of Scotland a while back and we’d spend any free time up there travelling the length of the West Coast. Very inspirational. It was an eye opener when we first went, as I had no idea that parts of the U.K. could be so wild. Bit of a culture shock from West London.

Could you describe the process you go through in imagining, planning, and creating a painting?
There’s very little planning. I like to spend time letting my mind drift and reflect on past places and experiences. I’ll then throw down some marks and thick paint onto a primed canvas. I’ll then leave the canvas for a week or so to let it dry and then start to build it up in layers. Sometimes I scrape the paint all back to reveal earlier layers. I never get a true idea of the finished painting until I put my brushes down. I’ll even return to a painting a year or so later and work into it some more.

What are your favourite types of paints to use?
Oil. I use nothing else. Very soft graphite if I’m drawing (which I’d like to do more of).

Who and what are your main inspirations?
I always try and see Turner at Tate Britain and also Rothko at Tate Modern. Frank Auerbach and Bacon are also very inspirational. I mainly find inspiration from just being out and about. Either mooching around art fairs, galleries or strolling along the U.K’s great coastline. I have just moved to the Lake District from London, so my new surrounding will probably begin to feature in my new work.

What other jobs have you had?
Loads. My first job was as a milk boy when I was 12. I then went on to work for my father who works as a car mechanic. I did this until I was 18. I also worked as a panel beater and sprayer. I’ve worked in a lot of pubs and bars, including the Shed Bar at Stamford Bridge. I worked, on and off, putting up motorway signs and installing floodlighting for tennis courts. After I left Art School I fell into Graphic design, which I worked in for about 8 years. I also spent about a year working for a games company working as a 3D modeller/Artist, creating spaceships and stuff like that.

Do you every get creative blocks, and if so, how do you deal with them?
Never. If anything, I don’t have enough time to get everything out of my head. I probably work on 3 or 4 different projects at any one time.

What advice do you have for young artists just starting out?
Be good at what you do and be prepared to invest time and hard work to make it happen. Also, treat being an artist as any other trade and it will all come good in the end.

See more of Paul’s paintings at his Art2Arts profile page.

At first it’s not clear what this artist is painting – but give it a couple minutes and you’ll be amazed!