The young painter shows us around her new studio at Paradise Works in Salford.
How long have you been in this studio?
For about six months. Before this I was in Rogue Artists’ Studios in Manchester for around a year and a half. I graduated from Manchester School of Art in 2015.
Why did you move here?
Rogue closed. It had been in that particular building, an old cotton mill in Ancoats, for about 15 years. But the building was sold for development. The artists wanted to move together but we couldn’t get somewhere central, cheap and big. So we split across two sites. Here, I get to be in the city.
How do you find working here?
I like it. It is smaller than my other studio but that’s ok. You can get a bit greedy with space. Too much space is problematic because I was honing myself in one corner. It needs to be a bit smaller so you can negotiate the space differently. It has made me make different decisions.
You have your artwork around you. Is that important?
I do like it. I bounce ideas around, and I never feel like I’m just working on one piece. I feel like all of the walls with things on are one progressive developing thing.
How many pieces do you work on at one time?
This story is from the February 2018 edition of Artists & Illustrators.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the February 2018 edition of Artists & Illustrators.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 8,500+ magazines and newspapers.
Already a subscriber? Sign In
Still life IN 3 HOURS
Former BP Portrait Award runner-up FELICIA FORTE guides you through a simple, structured approach to painting alla prima that tackles dark, average and light colours in turn
Movement in composition
Through an analysis of three masterworks, landscape painter and noted author MITCHELL ALBALA shows how you can animate landscape composition with movement
Shane Berkery
The Irish-Japanese artist talks to REBECCA BRADBURY about the innovative concepts and original colour combinations he brings to his figurative oil paintings from his Dublin garden studio
The Working Artist
Something old, something new... Our columnist LAURA BOSWELL has expert advice for balancing fresh ideas with completing half-finished work
Washes AND GLAZES
Art Academy’s ROB PEPPER introduces an in-depth guide to incorporating various techniques into your next masterpiece. Artwork by STAN MILLER, CHRIS ROBINSON and MICHELE ILLING
Hands
LAURA SMITH continues her new four-part series, which encourages you to draw elements of old master paintings, and this month’s focus is on capturing hands
Vincent van Gogh
To celebrate The Courtauld’s forthcoming landmark display of the troubled Dutch master’s self-portraits, STEVE PILL looks at the stories behind 10 of the most dramatic works on display
BRING THE drama
Join international watercolour maestro ALVARO CASTAGNET in London’s West End to paint a dramatic street scene
Serena Rowe
The Scottish painter tells STEVE PILL why time is precious, why emotional responses to colour are useful, and how she finds focus every day with the help of her studio wall
Bill Jacklin
Chatting over Zoom as he recovers from appendicitis, the Royal Academician tells STEVE PILL about classic scrapes in New York and his recent experiments with illustration
