In the Running Painting

I create oil paintings inspired by nature. I combine naturalism with expressive colour to create something beautiful, quirky and a joy to look at. ​I absolutely love to paint, and I love where I live, so my work is a reflection of the world I see around me. I use colour in surprising ways, vibrant colours sit alongside neutral tones to create something pleasing for the eye. ​​I adore seeing an animal, or a view spring into life on my beautiful linen canvases. My expressive animal paintings on natural linen and striking landscapes demonstrate my passion for painting and for the rural countryside that surrounds my Salisbury studio. I like exploring nature’s tensions - the animal is still but it could go at any second, the sunset is beautiful but soon it will be dark. I capture a moment in nature for a lifetime on canvas. Last year I went on safari to the Masai Mara in Kenya, staying on camp in the heart of the North Conservnacy of the Mara. I was able to get incredibly close to lions, elephants, leopard and cheetah throughout my trip. I have sketchbooks full to bursting point with the images I created whilst there. . Once back in the studio I surround myself with my sketches. The process begins formally, ensuring structure, focusing on composition and contrasts. This is developed with layers of colour and transparent glazes creating a joyous depth that invites the viewer inside. I work light over dark and thick over thin. Essentially what that means is the start of the work will have diluted washes of burnt umber or French ultramarine. This first layer will mark the piece out, whether it's the structure of an animal's face or the horizon line and features in a landscape. As the next layers build up, the selection of colour and dictates the heat, mood, energy of the painting. After that it's about creating a piece that the viewer understands, something they want to linger over a little longer. I use very traditional methods of oil painting, starting with a formal structure of the work, focusing on either the horizon or the eyes; I build around those key areas. Only in the final layers can I allow myself the real freedom in light and colour. The splashes and flashes are painted over on a strong foundation. ​ I only use artists’ quality pigments. I use Windsor and Newton as they have such a superb range. In addition I love to use Micheal Hardings paints and mediums. His Kings blue has a quality all of its own.