I am fascinated with light and colour, with reflected warmths, and the colour in the shadows. You may see how I use a warm object to glow with colour and light onto a vase or bowl to give it an added dimension. The tones, the lights and darks, give shape to a subject.
My family lived in Japan when I was very young and the silk wall hangings, saki bowls and an old Imari vase were everyday pieces I loved seeing. My husband is an inveterate collector and we have now many beautiful objects to paint and enjoy. I started out as a Physiotherapist but, watching my parents learn to paint, soon gave me my passion to paint, fitted in around my own family, with the youngest child included in the weekly landscape paint-out, as long as I wasn’t standing beside a river.
Although my work at first glance seems quite complex, I hope to give a sense of calmness to the work, as I usually use a limited palette and spend time on the design, on the flow of light, where the eye is taken on the journey through the work. I enjoy adding drama by strong lighting, sometimes putting an object as a negative shape, with the eye looking past and deeper into the subject.
Floral still- life works can be complex subjects that transcend modern fashions: they involve a painting that must work well as a whole and bring the viewer back, time and time again, to enjoy the subtleties.
The space around the subject is as important as the main object and often harder to achieve. I feel I have achieved something if I have involved the viewer. Painting “en plein air” has its challenges with changing light and weather, but so has my studio work, as many flowers move towards the light and look quite different after a coffee break, and the flowers distress easily. But I enjoyed the landscaping days with friends.
Welcome to my world.