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.

“Boring back views” – the scourge of the life drawing class – or are they? For anyone who’s not quite sure what I’m banging on about – in life drawing classes, everyone tends to crowd around the front of the model, so that they can get an obvious, portrait-esque, face view. I recently heard someone at a class complaining about  “boring back views”. But actually, back views can be enigmatic and very beautiful. Here are 5 of my favourites from art history.

1. Naked Man, Back View by Lucien Freud (1991-1992)

2. Seated Woman in Underwear, by Egon Schiele (1917)

3. Grand Odalisque, by Ingres(1814)

4. Rokeby Venus, by Velazquez(1647-51)

5. Not to be Reproduced, by Rene Magritte(1937)

See what I mean about back views? Now have a look at a couple great ones from the Art2Arts catalogue:

Red Hair by Carmen Tyrell

Sensual and hot blooded, there’s nothing boring about Carmen Tyrells’ back view.

Rebecca II, by Kris Hardy

Kris Hardy’s Rebecca has, as they say, “got back”.

Have a look at lots more back views, front views, top views, and even bottom views in the Art2Arts figurative section.

Irina Rumyantseva is one of Art2Arts’ most popular painters. She talks us through her process, from her strict artistic training in St Petersburg, to her advice for young artists just starting out.

 

See more of Irina Rumyantseva’s dynamic paintings at her Art2Arts profile page.

Simon Kenny’s dreamlike semi-abstract skyscapes and landscapes bring Turner’s use of light firmly to mind. I was lucky enough to be able to interview Simon, and he shares with us the details of his inspirations and artistic career, from his invitation to study at Canterbury art college aged just 11, to his formative years in the south of France.

Did you go to art college? If so, where, and what was your experience like?
I was offered a place at Canterbury art college at the age of just 11 years old, which I was told a very rare offer. It would have meant taking my GCSEs early and although I was told I was talented the additional workload scared me off so I didn’t accept. In my early years I saw art as just a hobby and found I only wanted to be creative when the mood took me so 5 days a week or more seemed like a lot of pressure. Silly really but things worked out in the end.

How did your interest in painting develop?
I have a very artistic family and I used to go and stay with my grandparents every summer in the South of France at a lovely little seaside town called St Jean De Luz. It was the ideal break away from life back home which was sometimes a little rocky. My granddad was an artist himself and he was also a good friend and collector of the late famous Spanish painter Uria Monzon.On many of our outings my granddad used to take me around the local towns pencil and pastel sketching these amazing landscapes and old buildings. On a handful of occasions we’d swing by Uria’s Gallery and check out his latest works. Between my family and the amazing artistic holiday locations I don’t think I could have asked for more encouragement.

How do you choose your subjects?
My work is very emotional based so the ideas tend to form with my mind set rather than just choosing a subject. I do sometimes use landscape, seascape and skyscape photos give me a shape or choose colours but that’s about it as I want to keep the paintings as directly linked to my creative vibe as possible.

Could you describe the process you go through in imagining, planning, and creating a painting?
The process really begins with a simple idea, sometimes just a name, or my music will get me moving forward in a certain direction. Then once I have the creative spark I’ll think shape, not just of the image I want to paint but of how it will fit in to what shape canvas. Then I’ll think textures and areas of interest. I don’t lay down colour until I have my shape right, then I may add a few bold colours and start to build the painting up. I always try to leave an area of light in the canvas, sometimes more than one, this kind of draws the eye in and I very gently pull the light areas around creating cloud like effects. This will all normally culminate in an emotionally charged swipe with various palette knives bringing out the 3 dimensional viewpoints I usually try to finish on. Then I sit and stare at the painting for many minutes, sometimes very long minutes, at times even taking photographs to see how things look on camera just to get another perspective. If I’m not happy I’ll highlight or lowlight until things standout as I want.

What are your favourite types of paints to use?
I like oils because of the softness and light blending ability. I use acrylics simply for the vibrancy and fast drying rates. Both are versatile and I often build an under painting quickly in acrylics then finish it in oils softening it down.

Who and what are your main inspirations?
I’m fascinated by people, our emotional responses, our belief systems and the world we live in. I love all the nature and science stuff, and find myself glued to the Discovery channels or normally have my head in a book full of information about the natural world or outer space, so the inspiration is everywhere.  I love weather, especially the moody British weather and often use images of storms to help me create my painting shapes. All that said music also plays a huge part in my inspiration and some songs can really pull my emotions forward getting me creatively flowing.

What other jobs have you had?
For nearly six years I was a director and designer at a bespoke furniture manufacturing company which I started from scratch. Before that I was in the building trade managing a renovations company. Art was more of spare time thing back then but I would still paint on weekends and in the evenings, selling works as and when I could and was actually commissioned twice before I turned professional.

 

Do you every get creative blocks, and if so, how do you deal with them?
I don’t really get creative blocks before I start I painting, it tends to happen more when I’m in the middle of one, which is really more like losing direction and it can be incredibly frustrating. I used to try to force the work through but this rarely worked out for me and I can always see in the finished piece where things started going wrong. Now a day’s I kind of feel  the anxiety building, and when I know I’ve lost my way a little I’ll take a step back, put the canvas on the wall and walk away from it. I try not to look at it for at least half an hour, then, when I re-enter the room I’ll stand back, as far back as I can and then I can usually I see my way forward or least see where to start up from.

What advice do you have to young artists just starting out?
It’s like I advise my kids, practise, practise, practise. Understanding paint is key to how I work so I invested a lot of time and effort into  learning about glazes, textures, maintain light, building colour and so on. I don’t believe you have to be brilliant with a pencil to make a great artist you just have to be confident in what you do and that comes with a full understanding of your tools and how you apply them. I was very good a sketching from a young age but my early paintings were less than desirable so once I wanted to develop this area of my creative ability I simply invested in myself until I was confident enough to move to the next level and I’m still learning today. My artistic journey has so far been a bit of a personal rollercoaster but I can say every second has been worth it.

 

 

 

Manchester’s Buy Art Fair is the place to buy original art in the North of England.

Art2Arts are gearing up to be part of this cutting-edge art event, featuring over 500 artists from 50 galleries. Featuring work by new and emerging artists, along with art world greats such as Tracy Emin and Rolf Harris, the Fair is a great opportunity to find original art for sale at affordable prices, from £50 to £5,000.

The fair provides a relaxed setting where you can browse for art and enjoy a great day out. As well as presenting an inspiring collection of art, the fair offers a series of informative talks by prominent art world names.

Managing director Tom Hetherington told us that  “We are passionate about art and making a way of purchasing original and affordable work possible. It has been rewarding to see the event create a sustainable northern art market in a city which boasts such a dynamic arts and cultural scene.”

The Buy Art Fair is your chance to see work by many Art2Arts favourites in person, including:

• Caroline Ashwood
• CK Wood
• Alison Johnson
• Pete Rumney
• Simon Kenny
• Irina Rumyantseva

For more information, and free tickets, visit: www.buyartfair.co.uk

 

 

 

Photos from the 2011 Fair:

Graduate shows are *the* way to learn about the work of the latest up and coming artists and see original art by future stars. If you’re in London or Manchester, pop along to these shows by recent grads of Blackpool & The Fylde College BA Photography.

 

By Susie Brady

Illume:

Illume is an exhibition featuring the photography of this year’s graduates of Blackpool & The Fylde College. Over 40 students have been working hard to produce their very best work for the show. The students’ work covers many different genres of photography, so there will be something to interest every visitor. From experimental to documentary, Fashion to Fine Art, this work represents emerging photographers from the North West and should not be missed.

Hosted in the recently refurbished Hoxton Gallery in London over a week in June 2012, visitors can expect an exciting selection of photographs, presented in a wonderful location, and of course a warm welcome from the students.

‘Illume’
Hoxton Gallery, London
12-18 Hoxton Street
London
N1 6NG

June 26th – 29th
Tue-Thu 10-5, Fri 10-2.30
Industry Private Viewing on Tuesday 26th, 6-8pm.

Website: www.illu.me.uk
Facebook: www.facebook.com/events/219886648129853/

By Lynn Brown

Infectious

Infectious is a show highlighting the work of the graduates of the Creative Arts Department of Blackpool & The Fylde College. The students in the final year of BA(Hons) Photography have created their best work and are excited to present it at Cube Gallery.

Cube Gallery is in the centre of Manchester and is the perfect space for showcasing the work. Visitors can expect to see a selection of the best work of the emerging photographers of the North West.

‘Infectious’
Cube Gallery, Manchester
113-115 Portland Street
Manchester
M1 6DW

June 16th – 21st
Sat 12-5, Mon-Thu 12-5.30
Industry Private Viewing on Tuesday 19th, 6-8pm.

Website: www.infectious2012.co.uk/
Facebook: http://www.facebook.com/events/219886648129853/

 

Young artist Fujiwara represents an interesting departure for Tate St Ives, who usually focus on the St Ives landscape painters and sculptors of the early – mid 20th century. Fujiwara grew up in St Ives but was not impressed by the local scene – rather he longed to escape to bigger and better things, so he moved to Tokyo and then Berlin and Mexico City. He works with installations which create a feeling of archaeological remnants, and the influence of his architecture training at Cambridge University is apparent. Fujiwara cites Tracy Emin as one of his greatest influences, which may explain his enthusiasm for the installation medium.

Source: http://www.carusostjohn.com/projects/frieze-art-fair/

 

Much of his work centres around biography and auto-biography, sometimes incorporating his family history. He envisioned an erotic novel based around his parents lives, and his work explores his distant relationship with his father, who lived on the other side of the world, and wasn’t great at keeping in touch.

The exhibition includes important recent works such as The Mirror Stage 2009–12, based around the story of an encounter with old-school St Ives artist Patrick Heron, and Welcome to the Hotel Munber 2008–1, an erotic novel where the protagonist becomes sexually obsessed with a hotel building.

Simon Fujiwara
18 January – 7 May 2012
March – October: Daily 10.00-17.20, last admission 17.00
November – February: Tuesday – Sunday 10.00-16.20, last admission 16.00
Closed 24, 25, 26 December
£6.50 (£3.90 concessions)
Free for Tate Members
Book online with Tate or call 01736 796226.

The Tate’s decision to create an exhibition based on Picasso’s influence on British art is an interesting one, as his circle of influence was relatively small here compared with other countries. During the early to mid- 20th century, the UK art establishment was slow to understand Picasso’s work. The Tate made its first Picasso purchase in 1933, and only a handful of UK collectors invested in his work, while conversely he had been a favourite with US and European collectors since the turn of the century. Gertrude Stein, for example, bought several of his works from 1905 onwards.

The Tate looks at 7 artists in depth; Ben Nicholson, Henry Moore, Wyndham Lewis, Francis Bacon, Duncan Grant, Graham Sutherland, and David Hockney.

Duncan Grant’s inclusion is a nod to the Bloomsbury Group’s interest in Picasso, who were the first to show his work to the British public. Here’s a radio interview about Picasso and the Bloomsbury Group.

Source: http://news.bbc.co.uk/today/hi/today/newsid_9696000/9696598.stm

Francis Bacon’s work is perhaps the most readily compared to Picasso’s. While Henry Moore’s work also deals with distortion and abstraction of the human figure, it is Bacon who matches Picasso in terms of the dark and disturbing emotional impact of these factors. Moore’s work, by contrast, presents a sense of serenity and harmony.

Source: http://www.telegraph.co.uk/culture/art/art-reviews/9080169/Picasso-and-Modern-British-Art-Tate-Britain-review.html

Wyndham Lewis’ cubist paintings show parallels with Picasso’s style, while Graham Sutherland’s work demonstrates, again, distortion and abstraction of the human figure. Ben Nicholson was a great admirer of Picasso and for a while closely imitated his style.

Source: http://www.arttop10.com/blogs/1/27/picasso-and-modern-british-art

Finally, the juxtaposition of Hockney and Picasso is perhaps the most vibrant and seems to hold the most contemporary relevance. Hockney regularly cites Picasso as one of his greatest influences, yet manages to integrate this well into his work and to retain his own signature style.

Source: http://artblogbybob.blogspot.com/2007/07/making-splash.html

Picasso and Modern British Art
15 February – 15 July 2012
Tate Britain is open every day, 10.00-18.00
Last admission to special exhibitions at 17.15
£14 (£12.20 concessions)
Free for Tate Members