View more artwork by: Stephen Quick 

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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

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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.

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Today is considered ‘Blue Monday’ where we are feeling at our lowest. It’s always that time of year people are feeling fed up after Christmas and summer seems a long way off. If your suffering from those January blues here are some fun and quirky paintings to cheer you up.

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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.

Damson Triptych by CK Wood

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.

Serenity Triptych Poppies by CK Wood

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.

Enlighten Landscape by CK Wood

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.

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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.

Wake 9 by Paul Bennett

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.

Wake 8 by Paul Bennett

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.

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Art2Art’s super-talented Paula Oakley has shares the progress of her painting “Harness and Plough”. These pictures clearly demonstrate how a strong drawing underpins a strong painting. Paula writes:

“Harness and plough”. Acrylic on box canvas. 20″x 16″x 1.5″ This painting was inspired by a day at the Sussex County ploughing contest which was held in my village. I wanted to capture the relationship between the farmer and his beautiful Shire horses. Working from the reference photographs I took, the first step was to draw up the picture using a simple grid.

Next the background is added, at this stage it doesn’t matter about painting over the lines of the main subjects as the acrylic paint will cover any overspill. The sky is a solid opaque coat of blue using a 1/2 ” flat brush but the rest of the work will be painted using size 1 and smaller,( I like Daler Rowney Acryla brushes)

Work can now be started on the horse, the whole area was painted in Paynes Grey (I never use black as it looks dull and lifeless). Highlights are added in thin washes (glazes) of of lighter colours and detail progresses.

Now work on the farmer begins, again the whole area is painted in before adding highlights and shading with built up glazes, although several layers are needed acrylics dry very quickly.

Finally the small detail is added and the foreground completed.

See more of Paula’s paintings at her Art2Arts page.

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In this video, artist Miguel Endara incredibly creates a drawing out of 3.2 million ink dots.

Hero from Miguel Endara on Vimeo.

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