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Wild Landscapes

Black and white branches of a tree against a white sky

Is there really any wild left inside of us?  

Our long, embattled past seems so distant when we imagine how life was before screens, property, high expectations…

Perhaps the better question is whether there is any part of us that is not truly wild if you scratch a little of the veneer away.

Evolution is slow and advancement has been rapid.  Most of our genetic code, our bodies and brains are designed for an older life.  We are in fact all walking relics, raised from the ashes of our dead ancestors, taught how to live in this strange and highly complex modern world.  We don’t quite fit.

Abstract landscape of reds, pinks, lemon yellow and dark blues

Winter Scene

Art: Winter Scene

Of course we ourselves are the architects of the new world that we inhabit.  We have made it more complicated to get what we need, so we look for more, but are often unsatisfied.      

The answer, I think is to go back.  To make life simpler.  To connect with nature and each other.  To redesign the house we made, so that it let’s the outside in.  

This is at the heart of my draw towards wild landscapes.  Like a stag’s bellow in the rut, the circling punch of a gale in the tree tops or the rush of my blood when I run. 

It is a calling.   

A group of deer and stag grazing in a field of autumn colours set against cloudy blue skies.

Evening Light at Bedfords

Heavy clouds gather in a bright blue sky.

Abberton Skies

An abstract merging of a mountain between loch below and sky above in turquoise, purples and ice blues.

Loch Assapol

Art:  Evening Light at Bedfords, Abberton Skies and Loch Assapol

Wildcarding… and winning! On Sky Arts Landscape Artist of the Year

How fantastic is that? Still not quite sure it all happened, but apparently it did! 

I’m the lucky Wildcard artist who won my heat at Royal Ascot on 15th June 2022 for Sky Landscape Artist of the Year (SLAOTY) series 9 (Episode 5) aired for the first time on the 8th February 2023.

If you’ve watched the series in full you’ll see I didn’t make it through the ‘battle of the wildcards’ where the judges select one Wildcard winner behind the scenes to go through to the semi-finals, but I certainly enjoyed my first, unforgettable experience as a wildcard on the show.  

My friend (and assistant for the day) Amber, set out early in our glad rags from her house.  My boot was full to bursting with a new trolley my husband had bought me, a tonne of art materials, a high stool and my big wooden studio easel.  I chattered like a magpie on the way there, trying to calm my nerves.  We got lost at a critical point somewhere nearby and finally found the tradesmen’s entrance of Royal Ascot.  

When we arrived the first thing we spotted was a beautifully bonkers queue of wildcards who had already arrived.  People had hats, fascinators and weird and wonderful gear carried under every available arm, as we joined the line we heard questions muttered excitedly, producers explaining the plans for the day, and the squeal of friends meeting unexpectedly in line.  

We eventually checked in and walked up to the picnic area where we’d be painting.  

We filmed the classic SLAOTY ‘wildcard walk up the hill’ a couple of times  and then we were told to find a spot to paint in the grassy area in front of, or alongside the pods not far from the white track fence.  I had eyeballed the area on the way past and was slightly unnerved by possibility of fitting so many of us (50 plus our helpers) with all our gear into a relatively small area.  I made for the front corner of the fence so that I could get a good view of the track and face away from the crowd.  The crowd of anxious/excited wildcards began flooding into the area.  

I blocked off a small square of territory, a little like putting my towel on a sacred sunbed in just the right spot and arranged my easel, canvas and paints, put in the stake for my umbrella.  

I had a good spot.  Tick.  I was set up.  Tick.

I reassured Amber that I was now all sorted, and she settled down comfortably with her book and sunnies on.  The producer called out that we’d have most of the day - our four hours plus plenty of time for breaks and she gave us a finishing time that sounded worryingly close on the heels of the first race of the Ascot programme.  She wished us good luck and all around me artists shot out of the stalls, putting pencils, paints and equipment to work, eager to make the most of every minute.  Being contrary, I put in my headphones and decided now was a good time for a very long walk.

After a lovely walk, zoning out from the mayhem a little and tuning into my own frequency, I returned ready to roll.  

I knew my quarry was beyond the fence and away from the jamboree of artists sitting behind me, but I wasn’t too sure what I would focus on.

I’d never been to Ascot before and to be honest, despite it’s glamour and shine, I found it hard to connect with.   Where I was I could see the helipad, the lines of rolls royces and the families picnicing in a car park in pristine clothes, sitting on foldout tables pulled from the back of their cars.  It was strange, happy and very British, but didn’t call up that inspiration that I take from nature, challenge or survival.  I was a little lost.   Given I was also in the midst of an art competition, where there was definitely an element of intensity if not competitiveness with everyone sitting so closely together, I felt a little like a rustic on a fancy day out. 

My eye kept being drawn back to the tall dark trees beyond the enclosure, which anchored me back to a beloved touchstone - landscape.  There was a gap in the branches and the blue sky beyond broke through in a beautiful way.  The eastern style pointed marquis’ were a lovely contrast in bright cream against the navy green depths of the treeline.  There was a strong composition there and I decided to take it and spend the day seeing what I could make of it.

I was shocked and delighted when Tai Shan Shierenberg, judge (and renowned artist) came over to chat to me on camera about my early choices.  He asked me about my orange ground colour and why I chose my view.  We talked about whether or not horses would feature and I explained that I’d like to include them, I’d come prepared for horses and I thought they brought life and movement to the scene (something I could get behind).  It was a good chat and I was incredibly touched that Tai saw promise in the early stages of my work for the day.  I continued.  

Tai and the other judges popped by and chatted again at some point, however I knew there were other fantastic artists in the field around me so didn’t dare to hope.

It’s worth adding that I knew that I had several advantages in taking part in the competition…namely:

1. I paint quickly - I’ve always been the same.  

2. I paint outdoors (en plein air) regularly and am used to the faffery of gear and therefore had prepared fairly well for the painting conditions on the day.

3. I have painted in front of people and within time limits before, having volunteered for live painting sessions as part of art fairs and gallery events I’ve been part of.  It helps a lot to shed some of your self-consciousness and you learn to build confidence in your decisions and go with them, in a way totally different to your process when working alone in a studio.

It’s obvious, but I think fair to say that somebody who takes a long time to create is not going to be showing what they can do in a mere few hours, but having not been in that position it helped me to be less stressed and allowed me to enjoy painting on the day.  

I didn’t go out of my way to look at everyone else’s artwork, I tried to stay focused on my own work but passing by for breaks and a stretch of legs I saw some fantastic works being made by the wildcard and Pod artists and was really impressed by the various ways in which artists were capturing the scenes and feelings that were present for them.

The Queen Anne Stakes - the first race finally arrived.  Many artists had completed one or several pieces, as there was only about an hour remaining.  I readied my phone to take a video of the horses coming past, determined to include them - but I heard cheers before I saw them and as they flew past they were visibly relaxing, riders standing in the saddles, horses tails and heads high with relief and enjoyment.  

The race was a mile long, which meant the finishing post by the main grandstand was the end.  It was unexpected, to see the horses and riders running with freedom, target past, but I realised it was an alternative and almost hidden story element to include in the work.  

I painted in the horses in spare, abstracted marks, their riders vibrant, physical appendages.  Distant shapes were added as people leaning in sorrow or joy against the rails - it was all over.

‘After the race’ 

To finish on time, to my satisfaction was a great relief.  To have Tai walk towards me to give me the winning handshake was like something out of a dream, not quite real.  The words of encouragement and support he gave me on the day and those the judges shared on screen, will stay with me for a very long time.  

I met some lovely people too, fantastic artists who produced some incredible work on the day.  It was great to share the crazy-amazing experience with some other talented wildcard artists and make some fantastic new friends in the bargain.   

The whole experience has given me more confidence in myself and my work and that’s worth a lot.   

I feel like it’s also a bit of a tribute to all of the wonderful people who have supported me, bought, liked, commented on my work, encouraged me (and read my blog!) - thank you all x

Thank you for reading x

Check me out on Instagramfacebook or keep in touch via my bi-monthly art journal here.

Acrylics…getting technical

Acrylic painting of a crow including the text 'Acrylics... getting technical -'

A few tips on how I like to use acrylics in my art.  

There’s so many ways, great books and good advice out there on the internet.

Classes and demos also give you a fantastic insight into painting methods and tricks in action.

I’m just going to get stuck straight in and tell you the things that make it all more fun and effective for me…

1. Lay it on thick

Abstract acrylic painting detail in rose pink, lemon yellow, stormy grey and light blues.

Detail from Winter Scene

Hold back on that water.  

Like our first experiences of ‘poster paint’ at school, we know we can use water to dilute acrylics, but that doesn’t mean we should.  If you apply paint straight from your palette with only enough water to loosen the brush, you get vibrant colour, texture and quite bit more control over the paint.  By comparison a wetter mix has a lot of beautiful watercolour features, but is very different to the undiluted version which is my favourite way of working with acrylics.

There’s different brands and paint products that help you choose more of a ‘heavy-body’ or ‘high viscosity’ paint, you can also buy thickening products to add to your paint and make it thicker to work with.  It’s fun to experiment, push paint around a bit and see what suits you and the work you are doing best.  I use my texture and colour to create movement and energy in bold, vibrant colours.  

2.  Use a ground.

An acrylic painting with an abstracted tree line with bright orange pops of colour as well as brown bracken and bough lines.

Treeline - enquiries

A ground is a basecoat, covering your canvas or page, giving you a starting wash of colour, allowing a pop of colour or tone to infiltrate across your artwork.  A contrasting or complimentary colour can be very bold and exciting (the artwork above had an orange ground which is poking through the trees and zipping against the browns and blues), or if using a more harmonious colour you can instantly and helpfully block out big sections (i.e. the blue of a sky on top of which you are painting a horizon and trees) which can stop you feeling like you have to ‘colour in’ your white sections, and instead focus on the energy, layers and atmosphere, even if it gets covered over - it gives you a supporting backdrop at all times as you work through the painting… nothing is missing from the get go… it’s just changing.

3.  Big brushes for as long as possible

Picture of artist Lucia Hardy painting at a desk easel using a large flat brush on a big canvas.

A tip I got (along with many others) from the talented artist and tutor Marie Antoniou  was to always use big brushes for as long as you could manage in a painting and I hold to that excellent advice.  I use flat, broad brushes - you can pick up a pack of three sizes in most art and crafty shops for very little money (often as good as the expensive versions) and use these a lot before moving to my smaller/weirder brush selection to help me out at the end of the painting or for particular effects.

The biggest reason to use big brushes?  It forces you to be expressive, bold and decisive, it makes your work fresh and instinctive and importantly it stops you fiddling and fussing too early on.  It will seem scary at first, but trust me stick with it and you will get results.  Promise.

4. Mix Colours

Detail of an artist's palette in yellows, oranges and light blues.

The magic of getting an artwork to ‘sing’ is often in the colour choices you make, and more specifically, the mixing of colour you do.  All too often paints are used in standard colours, straight from the tube and just a simple mix or two might have elevated that work to a different level.  It’s always worth having an experiment, and if you’re a real details man - you could make yourself colour charts starting with one colour and adding just different quantities of white and black to start, and seeing how different the qualities and applications changes as you go.  

The other thing I like to do is harmonising my colours, so keeping a relatively small palette of colours and using different variations and mixes of these within a work.  This means that these mixed ‘children’ colours are all linked together by their original ‘parent’ palette giving a consistency of tone and a coherent atmosphere across the painting that can really be beautiful if all goes to plan.  

 5.  Sensing your painting and what it needs from the paint

an acrylic painting in blues and purples of an abstract mountain reflected in a loch, clouds, drips and ripples intertwine to create atmosphere and a sense of place.

Loch Assapol - enquiries

I look at a lot of artist’s content on the web, I watch you tube videos and I read many artist’s guides to this and that… one thing that comes up a lot is about your personal style, finding it, perfecting it, being consistent.   This really helps when you’re an artist trying to be seen in a big, big, big online and real world marketplace for art… but… I like to think that on the very top of your priority list when initiating a painting is what that painting needs (and if your style is really your natural style - it’s going to come out anyway without too much bossing from your sensible, responsible side) so this means you have my permission to scrap any of the rules aforementioned… to use a biscuit to paint with - if biscuits feels required… to experiment and think about the feelings of your work and how you might communicate them to the viewer… could you flick, scratch or drip paint to get a sense of weather / emotion / charge?  What marks could you make to evoke the atmosphere you are feeling as you paint?

The beauty of acrylic is that when your mind goes off piste - the paint says ‘great, I can do that too!’  Watery transparency to tactile, craggy ridges.  Flicks and tricks, solid blocks or skittery scumbles - you name it, it’s got your back.  

So be creative, see what happens and if you fancy - come back and tell me all about it.

An abstract acrylic painting of a pond surrounded by trees and vegetation, a small black moorhen swims in the foreground.

Moorhen - enquiries

Thank you for reading x

Check me out on Instagramfacebook or keep in touch via my bi-monthly art journal here.

Using Format