His paintings are the result of many hours of field study and research. Sketches and photographs are made on location, these are the start for his paintings.
The technique used by James then to produce an original painting is to use watercolour, gouche, pencil and the airbrush, often all mixed together for an accurate and stunning result.
Sheree Valentine Daines
Sherree was born in Effingham in Surrey. After completing her early
education she undertook a fine art course at the Epsom School of Art.
As soon as she graduated she set about persuading local institutions to
exhibit her work and her success was immediate. She soon came to the notice
of the art world and won a number of accolades including the Young Artist
of the Year Award from the Royal Society.
Over the course of her impressive career Sherree has become one of the UK's most collectable contemporary artists; with a discerning international following of art lovers, she enjoys an unrivalled reputation in the international arena. Her impressionistic approach lends a unique charm to each stunning, figurative composition, her subtle hand blending each detail into a creation of captivating elegance.
Sherree's formidable talent has made her a favourite with many celebrity collectors, notably several members of the British Royal Family. She has enjoyed a range of prestigious commissions including one from the MCC to paint the Ashes series at each of the test grounds. Many famous names in the world of show-business have sat for her including Joanna Lumley, John Sessions and Michael Parkinson. She was also commissioned to paint portraits of Jonny Wilkinson and Martin Johnson for a pair of commemorative Limited Editions (signed by both artist and player) celebrating England's World Cup Victory; the Original of Jonny Wilkinson was bought by the man himself.
Sherree prefers to use oil on canvas as she finds this to be the purest
and “most painterly” medium available to her. She has exhibited
at the Tate Gallery, the Barbican, the Royal Society of British Artists,
the Royal Institute of Oil Painters, the Laing Landscape Exhibition, the
Royal Institute of Painters in Watercolours, the Royal Watercolour Society,
the Hesketh Hubbard Art Society, the New English Art Club, the National
Society of Painters, the United Society of Painters and the Pastel Society.
Sherree’s work is also in the Lord’s Museum and is held in many
private collections all over the world.
Where my painting is concerned I am a creature of habit, as I find a routine keeps me on track with my work. I tend to go to my studio at 9am and paint until I break for coffee mid-morning and then again for lunch. After this however, things get slightly less rigid, dependent on whether I am particularly excited about a piece. I may work through in an orderly fashion and stop for the day at 4pm, or if I’m feeling a surge of creative energy I could easily go straight through until midnight! There are of course many days when I don’t make it into the studio at all, which is no bad thing - if I spent all my time shut away I would miss out on all the beautiful sights and sounds that inspire my work.
The Creative Impulse...
My primary inspiration stems from everyday scenes of human activity. I
enjoy exploring the impact of light falling on moving figures and still
objects, and the interplay of solid shapes and their complex shadows.
I look for my subjects anywhere that groups of people congregate - bars,
restaurants, beaches, streets - but am often taken by surprise by a briefly
glimpsed tableau that cries out to be captured. Although I do enjoy travel
for its own sake, (particularly to European cities and the Caribbean)
I also use my trips abroad to seek out slightly more exotic subject matter.
Like many artists, I owe a great deal to those influential figures Velazquez,
Sargent, Manet, as well as to contemporary figurative artists such as
Ken Howard.
The Creative Process...
When starting work on a composition I try to hint at a story - something
to intrigue the viewer the way I myself am intrigued by my subjects. In
addition to these narrative overtones, I also try to work within the framework
of a disciplined formal structure, as balance seems to me to be one of
the key elements in a successful image. In order to recreate the setting
of my subject, I rely partially on memory, but also work from sketches
and, on occasion, photographs. When inspiration strikes I like to be able
to paint without unnecessary delay, so my preferred medium is acrylics,
as its quick drying property allows me to paint swiftly onto a dry surface.
Background...
Born in London in 1938, David Farrant has built a reputation as one of
the finest painters of portraiture in the country. Following his training
at Central St. Martin's, London, David embarked on an impressive career
which has included exhibitions at the National Portrait Gallery (where
he was a finalist in the John Player Award for Portraiture1989) and at
the Mall Gallery in London with the Royal Society of Portrait Painters.
He has also undertaken over 20 portrait commissions and has work in private
collections all over the world.
Laurence Llewelyn-Bowen is the UK’s premier celebrity designer and artist. His unique personal approach fuses contemporary minimalism with the glamour of styles gone by, and his enormous popularity has established his status as an arbiter of taste for the British public.
Laurence was born in 1965 in London. In 1986 he graduated with honours
from Camberwell School of Arts and Crafts and embarked on a career in
design. Initially he worked for a company specialising in industrial flooring
and was responsible for many of their best selling designs. If you have
ever been to the Royal Albert Hall or Buckingham Palace, or have taken
a trip on the London Underground, the chances are that you will have walked
on one of his floors! From here Laurence went on to work with a team of
interior designers, eventually setting up his own design consultancy which
has undertaken an impressive range of multi-million pound refurbishments.
In 1996 the first episode of Laurence’s BBC TV series “Changing
Rooms” was broadcast. Its immense success turned a man already well
respected and admired in his chosen field into a household name. His latest
venture is the launch of a portfolio of stunning artwork inspired by his
love of historical art and interior design.
The Creative Day...
I am lucky enough to be able to paint virtually every day in my local studio. I find that an early morning visit to the gym gets me going, both physically and mentally, so I try to start every day in this way. I like to reach my studio feeling positive and full of energy, and I’m sure this contributes to the fact that I always seem to do my best work in the morning! I generally tend to try and work a nine to five, as like everyone I have a finite amount of energy and I don’t want to produce substandard paintings through tiredness. As I said, I am at my most productive in the morning, and I think this is also partly due to the light that comes streaming in at that time of the day. I am quite organised and tend to concentrate on one piece at a time, although I do usually have some experimental work on the go concurrently, which often no-one sees but me! On a good day, the ideas just flow and I love the time spent in the studio and can’t wait to get back in there. Sometimes it is rather more like hard work, but either way, I still find looking at a finished composition an immensely rewarding experience.
The Creative Impulse...
I love to paint, and am inspired by the whole concept of creativity; the idea that a blank canvas can be turned into something that someone will cherish is very exciting to me. I also enjoy the fact that a painting can mean different things to different people, so a scene I painted after a glorious trip to Provence will remind me of that sun-kissed day with my sketchbook, while for another person it may evoke memories of a childhood holiday, or a romantic summer afternoon! Naturally the landscape is a huge source of inspiration to me, particularly that of Southern France, Italy and Spain. Every time I look out of a window in Tuscany, the scene before me is so impossibly beautiful I wonder if I’m looking at reality or an idyllic painting.
Although I love visiting galleries at home and abroad, and admire the work of many artists, I would not say any particular individual had influenced my style. I think that subconsciously all the art I have looked at over the years has had an effect on me, teaching me about form, colour and technique, and I like to think I have absorbed these lessons into the work I do.
The Creative Process...
A painting begins for me with the sight of a sunlit hillside or a glorious cloudless sky. I rarely paint on location however, but prefer to store the memory in my camera - I take lots of pictures from every conceivable angle - and then translate the memory onto the canvas back in the studio. Although I have been very happy painting with acrylics for most of my life, I have recently begun to explore the possibilities of alternative media, but have not yet found anything that gives me the same vibrant colours that are such an essential part of my images.
Background...
Born in the Midlands in 1976, Richard's artistic leanings were obvious from an early age. As a child he dreamed of being a painter, and he regards himself as one of life's lucky ones, gifted with the talent to turn dreams into reality. After graduating from the University of Central England with an impressive First Class Honours degree in Visual Communication, Richard became a professional illustrator of childrens' books and undertook numerous other design projects. He was soon invited to display a selection of his work at the New Designers Exhibition in London and Images 24, an exhibition which opened at the Royal College of Art and then toured the country at selected galleries. Lovingly executed in acrylics, his glowing landscapes explore the lustrous shades of Provencale summers, and possess an immediacy and charm that have enchanted art-buyers across the UK. His broad and jagged brush strokes blend with surprising ease to create harmonious pastoral images, which never fail to evoke memories of our best and longest summer days. His numerous exhibitions have provided him with a wealth of new ideas ensuring that this bright, young and dynamic talent has a great future ahead of him.
Pam's dazzling seascapes originate on the rugged West Coast of Scotland with its isolated cottages and wild colours and amongst the majestic cliffs and fishing villages of the East Coast. In her own words: "A sense of a place is important in my work but for me it's not about capturing a scene with complete accuracy. Sometimes it is the elements and the untamed force of nature that inspire, but more than anything it is the essential quality of the light which can be found in the Scottish land and seascape. I often interpret the scene with abstract elements allowing the paint to work for me. I translate this light in terms of contrast and colour - often bold but always with subtlety and balance. I ultimately want to create a visual sensation and pleasing image."
Pam's award winning artwork is held in an impressive range of private and corporate collections. She has also held numerous solo exhibitions throughout Britain and in the USA and has participated in several group shows including the Royal Scottish Society (RSA), the Royal Glasgow Institute (RGI), Visual Arts Scotland (VAS), and the Paisley Art Institute (PAI). She gained an award from each of the latter three venues.
I’m a habitual early riser, as at 6.30 in the morning my four noisy dogs are already asking to be taken for a walk. This is a lovely way to start the day as I’m an outdoor girl at heart, and whatever the weather it sets me up for a productive few hours. After breakfast, I always try to be in the studio by 8.30, and as it’s a room that we built on to the garage I have no excuse to be late. I generally try to work through to the early evening, when once more I take the dogs out and, if time allows, pay a visit to the gym. In some ways it’s a solitary day, but the hours fly by and I thoroughly enjoy my work. I am naturally quite a shy person and I find painting is a great way of expressing myself, and saying what I really feel!
The Creative Impulse...
I have many passions, which are as varied as life. They include animals,
fashion, the great outdoors... all these things have inspired me to paint.
I also love to travel both for the sheer pleasure of seeing the world
and for the opportunity to store up ideas for my next set of paintings!
I often feel that rather than me choosing a subject, it chooses me through
my own emotional response to something. I may be laughing at a funny face,
feeling becalmed by a beautiful sky, or experiencing excitement looking
in a shoe shop window...! All these things make me feel the urge to pick
up a paintbrush and go for it! I have learnt to make sure I am never without
my sketch book in one hand and my camera in the other, as I need to record
these ideas on paper to remind me of exactly how I felt at the time.
My grandad was always drawing pictures to amuse me, and I have an uncle
who is an artist; these two individuals probably represent the strongest
personal influences on my work. I do admire a great many famous artists
of course, but am unable to cite any one in particular as being a major
figure in my artistic development.
The Creative Process...
I am an avid photographer and never go anywhere without my camera. I take
masses of photographs of anything that catches my eye, and file these
images away for future use and inspiration. I also make sketches as they
are often the thing that gives me the “angle” from which I want
to approach a subject. I love to work with inks and handmade paper, as
these media offer me endless possibilities; there are so many fantastic
textures of paper available nowadays, and the inks react differently with
each of them. I have spent years examining the way the inks bleed and
how the colours react and combine on the papers. I love the idea that
the tools of my trade make such a strong contribution to the finished
composition; if I had used an alternative paper the image might have looked
quite different, which means I really do have to get to grips with the
properties of my chosen materials. Recently I have also begun to use acrylics
on canvas as I love the quality of the colours, and again, the texture
of paint on canvas.
Background...
Nicky’s background is in fashion and textile design. Having graduated
from Winchester School of Art in 1991, she moved into a highly specialised
career as a milliner. Here her exceptional skills helped her to build
a loyal and substantial client base amongst both private buyers and major
agencies. In 1997, Nicky decided to focus her creative talents in two
entirely new areas – fine art painting and interiors. With a wide
network of contacts made over the previous six years she found a ready
audience, and with their encouragement she finally gained the confidence
to concentrate full time on her drawing and painting. Nicky’s passion
for pattern, texture, form and colour are apparent in all aspects of her
work. Highly textured handmade papers and vibrant coloured inks form an
effective medium for her enchanting subjects; the inks bleed into the
paper in a manner reminiscent of fabric painting; a trademark of Nicky’s
work that owes a lot to her background! Cats, dogs, handbags, shoes, furniture...
just about anything that is found around the house has been turned into
something memorable by her witty and observant hand. A genuine outdoor
girl, Nicky’s mountain biking, snowboarding and hiking have brought
her into close contact with some magnificent scenery which has inspired
her latest venture: a stunning set of seascapes on wood and canvas. Bold
and imaginative, she adds a range of iridescent paints to the acrylics,
altering the effect of each piece; as the light changes the image seems
to fade along with the day.
“I am thrilled to be able to put a smile on someone else’s face
through my art!”
A seasoned traveller, Henderson has spent time in Europe, Australia and
of course his native South America. While he loves the ocean and has always
found it a source of inspiration and joy, he is also a true city-dweller,
and many of his most inspirational works feature scenes from the world’s
most beautiful cities. Painting in acrylic, oil or watercolour on canvas,
Henderson’s trademark palette utilises cool, soft tones to convey
the atmosphere of his subject. His works are regularly displayed in London
galleries and at international art fairs.
“I love the effect that weather has on the urban landscape and must
confess to a particular fondness for the rain! Not only does it cast interesting
shadows and reflections on the slick sidewalks, but it also dictates the
stance of the figures. Their slightly defensive postures and hunched shoulders
lend a very specific, and to my mind curiously engaging, mood to the overall
scene.”
Citizen of the World
Brazilian-born wanderer Henderson Cisz loves to travel the world and paint
the drama and diversity of urban life. From New York to Paris, from London
to Venice he has formed an intense and loving artistic relationship with
these living breathing cities. Although he may have finally settled in
London, Henderson’s nomadic past has left indelible imprints on his
lifestyle, not to mention his artwork, as we can see by joining him for
a few hours in the life of a truly cosmopolitan artist.
As early as 8am Henderson is already demonstrating the habits of a good
New Yorker or Parisian, sitting back, legs crossed in a leisurely pose,
enjoying a freshly ground coffee and a basket of croissants “en famille”
in his local café. Then it’s off to school for the younger
children and back to Henderson’s delightful mews studio for him and
his eldest son, who is currently going in every day to watch and learn
both his father’s painting techniques and the art of studio management.
Observing Henderson at work is an education in itself. A charming and
unassuming man, softly spoken and with a gentle sense of humour, he transforms
when he stands before his canvas. Working from the many hundreds of photographs
he takes in each location, his style is surprisingly uninhibited and the
studio wall is strewn with riotous splashes of paint that have flicked
from his animated brush. The room itself is equally chaotic, with rolled
canvases stacked against the wall, interspersed with family photos, sketches
and works in progress. Yet out of this apparent confusion emerges artwork
that is beautifully resonant of the city it represents.
When he is not travelling, Henderson tends to spend the majority of his
day painting in his studio which occupies a lovely West London setting
close to the Thames. He admits to a great fondness for the UK, and judging
by the unstoppable success of his dazzling cityscapes, we are rather fond
of him too.
Henderson’s Limited Edition Prints are available on Paper or Box
Canvas. His stunning Original Paintings are also available on Box Canvas.
At the age of 9 he became fascinated with the paintbrush, and using watercolors
and tempera he painted portraits of his friends and family. His mother,
Edua Herreria, a beautiful Brazilian women, met his father, a handsome
and charismatic ladies’ man, Antonio Perez, in the late 1950’s,
in Campana, a small city outside Buenos Aires. They married and had four
children of whom Fabian is the youngest.
Edua was the creative force in Fabian’s life and Antonio was the
inspiration for his work. Fabian witnessed his father’s unorthodox
and often difficult life, portraying him in his paintings as “the
cool guy” outside nightclubs and bordellos. Antonio owned a number
of brothels and illegal nightclubs in Campana, and was frequently chased
and closed down by the police. Nevertheless the young Fabian was constantly
exposed to beautiful women who could seduce a man “simply by lighting
a cigarette”. Today we see these “ladies of the night”
exquisitely portrayed in many of Fabian’s paintings - memories of
his youth and the nightlife he observed.
At the age of 16 Fabian was faced with the loss of his mother and 3 years
later the loss of his father. The sadness and despair he experienced left
him confused and searching for answers. In 1984 he had crossed paths with
the greatest inspiration of his life - Sensei Oscar - who later became
his teacher, master, close friend, and father figure. Heartbroken and
alone, he therefore found strength and a degree of inner peace through
the study of martial arts.
Then in 1987 Fabian set off on a journey that was to last until the the
present day. After six months in Rio he took up residence in Padova, near
Venice, where he stayed for seven years, studying with Oscar and painting
daily before moving on to Okinawa, Japan. He finally decided to experience
a different side of life in the USA, and in Los Angeles he worked as a
busboy and a model, and ran odd jobs for Universal Studios. With his days
full, he painted throughout the night and considers this the most creative
period of his life.
In 2001 two art publishers and gallery owners saw and fell in love with
an exhibition of Fabian’s work. They met Fabian two days later and
they formed a partnership to promote, market and develop Fabian’s
career as a fine artist. The collaboration was an overwhelming success;
every painting Fabian created was sold immediately and the demand for
his work exploded. Today his work is published by DeMontfort Fine Art
in the UK.
Fabian wishes not to categorise his style as he does not want to limit
himself or his work. His art is simply the passionate expression of his
strong romantic feelings. Inspired by what is known in martial arts as
the Muga (empty mind), Fabian finds himself in this almost meditative
state of mind when he is at work, and the purity of his creativity flows.
He now resides in Beverly Hills, California, where he paints, plays soccer,
trains and teaches martial arts to close friends. He still travels the
world for inspiration.
The Creative Influence…
When we look closely at the paintings of Fabian Perez we can see some
fascinating visual signposts that point us in the direction of his influences.
The first of these is the night time setting for many of his most powerful
images. This distinctive trait leads us directly to the door of his father,
Antonio, who Fabian has always cited as the inspiration for his work.
Antonio owned a number of bordelloes as well as other clubs and was frequently
chased and closed down by the police. Thus was born the young Fabian’s
fascination with the underground world of night in the city.
The second visual signpost comes from the women who appear in Fabian’s
paintings. The intimacy and respect with which these “women of the
night” are portrayed is due in no small part to his upbringing, where
he was befriended and often cared for by girls that other schoolboys were
being warned against. The warmth and humanity of these women is as central
to his images as their beauty and seductiveness. Like Toulouse Lautrec,
whose vibrant but humorous portrayals of the Moulin Rouge cancan dancers
offered us a uniquely intimate view of these extraordinary women, it is
Fabian’s closeness to the reality of his subjects that sets him apart
from other artists who might paint such figures from a greater distance.
Thirdly, there is the constant presence of rhythm which pervades every
image, regardless of whether the subject is dancing or simply smoking
on a balcony. This complete understanding of the tempo and cadences of
the human body comes from two distinct areas of Fabian’s life. One
is his own musicianship which is hugely important to him and connects
with his artwork on a profound level. The other is his dedication to karate
and the philosophy it embodies of identifying the essence of an individual
and communicating that central vital spark on the canvas.
Over the years I have discovered that I work better at some times of the day than others and that creative energy is not a 9 to 5 commodity! For this reason, a typical working day for me starts early - I am usually in my studio by 7am. This is the time when I work on paintings in progress, refining the images to achieve the precise effects I need to communicate the particular subject. Then after a short break for lunch I work on new compositions. I find this is the most productive time of day for me, when I am best able to give full concentration to my painting without any distractions. This period requires a great deal of energy however, and when 4 o’clock arrives I am usually ready to stop for the day - and start looking forward to that Vodka and Tonic... Of course I also spend a great deal of my working life out and about; while I love to paint locally, I have also travelled extensively around the UK and Europe in search of inspiration.
The Creative Impulse...
For me inspiration comes from confrontation with nature which demands a response; a sunset, a heavy shower, powdered snow, sunrise over a loch, any or all of these elements might dictate the form that the response will take. I contemplate the landscape with amazement as it changes hourly, yet remains fundamentally the same. This is a concept I love to explore in my paintings - a blazing sunset reflected in a calm sea carries the implication of impending darkness, while heavy clouds in an overcast sky might predict an imminent storm...
I have painted since childhood, so I have a long history of creative influences; the two most lasting however have been Fred Cuming RA and Ken Howard RA.
The Creative Process...
I have always been attracted to coasts and seascapes in general, as I love the sense of infinity and endless searching that they give me. The subject of my next work will usually come to me when I am out by the sea, feeling at one with nature and the elements, and at this time I know what direction the composition will take. Back in my studio the painting begins to take shape in reality, and I aim to recreate both what I have seen and my own emotional response to it. I prefer to paint using oil as I find that this is the medium most adaptable to changes of light and mood.
Background...
Peter was born in 1946 in Middlesex. On leaving school he went straight
into his first job as a studio junior for a card company, where his innate
artistic talent was recognised. Here he spent five years studying lettering
and design - his first artistic training - which gave him a solid grounding
in colour awareness and formal structure. Peter then moved on to become
art editor on a number of magazines, until finally he tired of the rat-race
and set himself up as a freelance illustrator. His years of experience
stood him in good stead, covering as they did, all aspects of design and
illustration, from greeting cards and posters through to portraits and
Limited Edition Prints. Working freelance gave Peter the opportunity to
concentrate on his painting, and he has produced a substantial body of
highly expressive work inspired by Britain’s coves and harbours.
His large-scale compositions have a painterly quality derived from the
apparent vigour of the brushstrokes and the impression of spontaneous
creativity, which make them both dramatic and uplifting. Peter’s
work has been recognised with various awards including the Frank Herring
award at the Mall Galleries in London and the Cornellisen Prize for Outstanding
Work 2002. Over the last six years he has exhibited regularly at a number
of prestigious art venues including the Royal Society of Marine Artists,
the New England Art Club and the Royal Institute of Oil Painters of which
he is an elected member.
At the age of twenty-two, Rolf moved to London on what was supposed to
be a year's study leave, financing himself through four exhibitions of
his work held in Australia. He immediately enrolled at the City &
Guilds Art School in London, intending to follow in his grandfather's
footsteps and become a portrait painter. After a chance meeting with the
Australian impressionist painter 'Bill' Hayward Veal, however, he began
attending an art course run by Veal and soon became his protégé.
In the mid 1950's, for two years running, some of Rolf's paintings were featured in the Summer Exhibition at the Royal Academy. While painting continued to be a private passion of his, it was for his television and stage performances that Rolf became a household name. In recent years Rolf has devoted more time to painting and has had a number of one-man shows, including the Rolf on Art exhibition at the National Gallery.
Rolf's BBC television series Rolf on Art achieved the highest television ratings ever for a UK arts programme. Rolf hosted television's biggest ever Arts event with a live BBC special titled Rolf on Art: The Big Event, in which he joined the public in recreating a large-scale version of Constable's 'Haywain' in Trafalgar Square. The massive event was such a huge success that the BBC staged two further Rolf on Art: The Big Event specials in Edinburgh and London.
Rolf has been awarded the OBE, is a member of the Order of Australia and
has won many awards for his work in the entertainment industry. Recently
he was made an honorary member of the Royal Society of British Artist.
This year saw Rolf Harris unveil his portrait of Her Majesty The Queen,
commissioned by the BBC to celebrate her eightieth birthday; this portrait
was the subject of a BBC ONE programme The Queen, by Rolf which was screened
on New Year's Day 2006.
With Gary's popularity being so high and with such low edition numbers we seriously recommend ordering early as these are certain to be highly oversubscribed.
ORIGINALS
Some original oils and lesser expensive studies on paper are available. Contact your representative for further information. The images will be added to the ORIGINALS section of the site within the next few days.
About the Artist
“I cannot remember a time without drawing. It was natural for me as a child to use both my hands when painting and drawing and this ambidexterity has remained with me in my adult life as an artist. I love the beauty of the line and I use these skills to create and transform inert materials into images of beauty and romance.”
What the artist says about the editions and embellishment
‘It is the first time that I have been in control of my own publications and I am delighted with the superb quality of these editions. They are, for the first time, available in very low numbers and have been beautifully hand embellished by Karen and myself in my studio. The addition of paint and gold leaf on both paper and canvas editions has created a richness and vibrancy which could almost rival that of the original painting. Each one has been hand finished to the highest standard and I am proud to be able to sign and number each of them. Each print is, in many ways, an original in its own right, with no two images being exactly the same. We hope they will delight and please collectors for many years to come.’
Gary has now found time to concentrate on building his career in the UK after much success overseas. His major works are now reaching five figure sums (US$) and are increasingly sought after.
Michael was born in 1948 in Sussex, and studied at Ravensbourne College of Art in London from 1966-70. He began his career designing and illustrating film posters and record sleeves, and painting landscapes and sports scenes. In the 70s and 80s he worked as an advertising art director and as an illustrator, while continuing to paint and exhibiting at the Spectrum Gallery in New York. Michael’s paintings are in corporate and private collections in Europe, Australia and North America. He lives and works in Richmond, Surrey.
Having lived near the sea for most of her life, Wendy delights in the subtle changes of the ocean, specifically the light and space it engenders. This everlasting subject has become her main source of inspiration. She also draws on the works of artists such as Turner and Monet, Rothko and Hodgkin for her evocative creations. She has experimented extensively with various media, and is currently working in pastels, finding their ‘translucent qualities’ and immediacy particularly well-suited to her subject matter.
Wendy’s distinctive images have been described as clean, fresh and atmospheric, but they are much more than this; each has an emotive, almost mesmeric quality that is nothing if not enchanting. Her first collection of stunning published works has received a resoundingly enthusiastic response from galleries and the public alike and we all look forward to the introduction of more imaginative pieces.
Kevin graduated with distinction from Reigate School of Art and Design in Surrey where he specialised in hand lettering and calligraphy. Kevin then embarked on a career as a graphic designer working in publishing, where he created promotional material and book jackets for many top titles. This background provided him with a sound knowledge and understanding of both design and the print process, and from here it was only a short step to becoming an independent professional artist.
Kevin’s striking images can be best described as original, hand finished, mixed media creations. They use an extensive and imaginative range of materials, including charcoal, wax, watercolours, and gold leaf, which provide each piece with a rich and varied texture. Starting with a black and white line drawing he builds the work in stages, turning a two dimensional drawing into a three dimensional original through creative layering and detailed use of light and shadow. The result of this painstaking process gives us a fascinating glimpse into the traditional forms of classical design, whilst incorporating artistic elements with a fresh contemporary feel. Thus, we find ancient and modern, traditional and contemporary sit side by side in a pleasing harmony.
The year 2000 was an amazing one for Kevin; not only was he nominated for Best Up and Coming Artist 2000 by FATG, but he was also awarded the prestigious title of Gift of the Year Winner 2000 for his creation, L’Architecture 1. He is constantly exploring and developing new subject matter to ensure that his reputation as one of the country’s leading contemporary artists continues to go from strength to strength.
“I enjoy the double edge of classical design alongside a contemporary
treatment which makes me at the same time both restricted and free –
a wonderful place to be.”
The last year has been an outstanding one for Kevin. Not only was he nominated
for Best up-and-coming Artist 2000 by the Fine Art Trade Guild, but he
was also awarded the prestigious title of Gift of the Year Winner 2000.
He is continually exploring and developing new subject matter to ensure
that his reputation as one of the country’s leading contemporary
artists continues to go from strength to strength.
Previous works - now sold out by Kevin Blackham
Daises, Stelo I, Stelo II, Petite I, Petite II, Tulips, Vin de table III,
Bon I, Bon II, Femme Forme I, Femme Forme II, L'Architecture II, Houses
of Parlement, Tower Bridge, Le Centre Municipal, La Grande Ecole, La Bibliotheque,
Le Symbole Chinois I, Le Symbole Chinois II, Petite I, Petite II, Trio
I, Trio II, La Bonne Vie I, La Bonne Vie Ii, La Bonne Vie 1, La Bonne
Vie 2, Le Pavilion I, Le Pavilion II, Maison De Ville I, Maison De Ville
II, Athletique I, Athletique II, Romanesque I, Romanesque II, Detail I,
Detail II, Detail III, Detail IV, Fragmentaire I, Fragmentaire II, Monarchs
I, Monarchs II, La Pendule I, La Pendule II, La Musique I, La Musique
II, La Musique III, La Musique IV, Le Pont Magnifique, Femmina I, Femmina
II, Fountain I, Fountain II, La Bonne Vie I, La Bonne Vie II, Pavilions
I, Pavilions II, La Rangee Classique, Ornamental I, Ornamental II, Floral
I, Floral II, Le Citta Delle Tori, La Maison Majesteuse I, La Maison Majesteuse
II
From my early childhood days I knew I wanted to be an artist. My brother
Gerald and I grew up with the smell of linseed oil and turps, watching
our father paint for his living at home in Birmingham. Drawing pictures
of everything we were interested in was second nature to us.
After graduating from art school with a distinction, my parents, knowing
the fickleness of the fine art world, decided that I should have a proper
job. I was therefore sent to work in one of Birmingham’s biggest
advertising agencies for five years, after which I completed a year’s
national service as an infantryman. Neither was a happy experience for
me and my painting remained my first and foremost love.
I became passionate about motor racing in the mid forties at a time when
there was no racing, so all my research was developed from books about
the pre-war period of motor sport. The only speed I could personally indulge
in was cycling and I became a keen racing cyclist. My first major journey
took me from Birmingham to Silverstone for the 1948 Grand Prix, which
I enjoyed immensely.
My subjects have ranged from portrait painting & drawing planes, Trains
and military scenes, but it is the challenge of capturing speed in motor
racing that occupies most of my time.
Another of my passions is building sports cars, something I have done
since long before I was even able to obtain my driving licence.
My collaboration with Washington Green and the Halcyon Gallery began in
1987 and since then I have produced many limited edition prints.
I am surrounded by inspiration. I live in a small village in the Teme Valley in Worcestershire. The views from my home and studio are magnificent, a landscape artists paradise in fact. Unfortunately I do not paint landscapes. Another inspiration is beautiful women. An exhibition of pictures by Pietro Anigoni inspired me many years ago and I embarked on a period of portraiture. It was exciting, stimulating and very nerve wracking. It always worried me that the man paying for the ladies portrait would not be pleased with my painstaking efforts. I decided I was not a born portrait painter and returned to my earlier passion of racing cars.
Given the choice of model in art school, a racing car would always be
my first and favourite. Back in the late fifties I drove a Formula 2 Cooper
at Brands Hatch on two occasions with the Cooper Training School - they
failed, however, to notice my potential as a future world champion! I
was also once the passenger in a racing BMW that was hurtled round Brands
Hatch by the great Derek Bell. It was both terrifying and inspiring –
a glimpse into the passionate world of motor racing from the inside.
I love racing cars, their stylish shape, their engineering excellence,
the sound of their engines, but most of all to see them driven hard by
skilled drivers against other machines, that really inspires me.
Trying to capture the action, speed and even violence of motor racing
is a great challenge – one I’m still working on.
I use four basic mediums to produce pictures. Everything starts with
pencil - the most versatile instrument of all. You can obtain effects
with pencil, which are impossible to recreate with other mediums. Pastel
is also very effective for creating atmosphere, but most of my pictures
are produced with oils or acrylics. I started using acrylics years ago
when a publisher who wanted Grand Prix race pictures, set me impossibly
short deadlines of two weeks for major works. The over-painting of sponsor
logos on cars bodies required the medium to dry quickly and with acrylics
this only takes a minute or two.
Most pictures I start with a series of pencil sketches to determine content, composition, light and shade etc. Then I research for accurate detail of the cars and background. This can occupy considerable time but it’s essential to get things right at this early stage, rather than altering a nearly complete painting later on. Next stage, a small colour study of how I want the final picture to look. This is as much for my benefit as it is to show the customer for their comments and approval. Finally, before paint touches canvas, a full size pencil drawing is produced derived from my small studies and references material gathered. This is then traced down onto the canvas. The most important thing of all is to get the subject matter right.
When I’ve determined what day of the week it is, I can then decide
what work is to be tackled. Will it be the studio or the garden that beckons
me? Shall I paint or has Mother Nature the greater call on my labours.
And all this before I crawl out of bed for a leisurely start to the day.
Breakfast is taken at a slow pace sitting opposite that lovely lady who
married me in 1957 and has stayed loyally with me ever since. Elizabeth
and I are very dependent on each other and at breakfast we discuss our
moods, needs and wants for the day. Is it to be work, rest, play, or gardening?
Our hill side garden of three quarters of an acre has dozens of trees,
shrubs, hedges and much grass, all of which needs year round attention;
it’s hard work. It doesn’t keep you fit, it wears you out, but
it is a great joy to have.
If it’s raining I know I shall be in the studio and can get on with
the serious stuff of painting or researching the next picture. The studio
is a cosy place, a retreat from worldly matters. It is full of books and
magazines, mostly cars and motor racing. I also have my stereo which is
important. The right music can really lift the spirit when things are
getting dull. The wrong music gets turned off very quickly.
At the end of the working day it is wonderful to amble to the top of the
orchard to admire the view of the Abberley Hills and the Teme Valley and
to thank God that I can live in such a peaceful place.
Royo
[no photo]
view paintings (NO PAINTINGS)
During the mid-60's-early 70's Royo added more dimensions to his skills creating theatre sets and doing graphic illustration and restoration work. He also participated in prestigious competitions gaining major distinctions. In 1968 he began to exhibit in Spain, specifically Lisbon, Madrid and Barcelona. With positive reception of his works in Madrid, Royo received commissions to paint the royal portraits of King Juan Carlos and Queen Sofia. He received subsequent commissions to paint the Judges of the High Magistrature and the Court of Justice, as well as prominent political and society figures.
At the age of 25 Royo began feeling a growing desire to paint the land of his birth; to convey the light, the color and the intensity of Valencia and the Mediterranean. This meant a new focus and change of style in his work; he needed to perfect new ways to capture the light, the shadow and to work on classical composition styles. Through the 1980's Royo perfected his style of painting the Mediterranean and exhibited abroad, notably in London, Brussels, Copenhagen and Paris. He also participated in the International Geneva Art Fair.
Beginning in 1989 and continuing until today we see the development of Royo's "matured" style. His dramatic use of color and "texturing" capture his subject matter with unique flair. Parallels can be drawn to the work of the European masters; for example, with Royo's "homage to the female form," we see the distinct influence of Renoir. It is the similar, almost portrait-like treatment of the female model, caught in a serene, contemplative moment, with the surrounding "bursts" of color from the floral landscapes where we see the "Renoir" in Royo's work. In fact, critics have concluded, "If the artwork of Renoir were blended with that of the 'Valencian painters' you would arrive at the canvasses approaching the uniqueness of the impressive work of Royo."
Impressive parallels can also be drawn between Royo's work and that of the Spanish master, Joaquin Sorolla. Both were born in Valencia, both were classically trained, both "matured" into styles of painting capturing the dramatic visual essence of their homeland-Valencia and the Mediterranean Sea. They have both been described as "painters of the Light"; some have said, "of the Light of the South," that is, the southern coast of Spain. It is the overwhelming influence of Sorolla blended with his own style that make Royo's masterful treatment of the Mediterranean subjects both haunting and mysterious, yet full of raw power at the same time. The sweeping brush strokes, bold swaths of color, and heavy impasto capture the eye and draws one inward until that final absolute moment of awareness that one is actually there in the scene feeling the light and heat of the sun, the salt and sea spray, and hearing the crashing surf. Royo conveys not merely image, but mood and atmosphere as well. This is rare in today's art world, hence the connoisseur is compelled to compare with the old masters. Thus, the appeal of Royo's work for today's collector becomes obvious. With pride we offer the art work of today's Spanish master painter, Royo, to the art connoisseurs of the world
Initially, Fletcher was attracted by the concept of movement and its effect on the human form. This naturally lead to his interest in sport and abstract portrayals of gymnasts and athletes, culminating in an exhibition ' In Motion ' in London in 1992. Fletcher was approached by Sadlers Wells in 1995, to produce a painting for the Flamenco dance troupe Paco Pena. The movement and the expressive quality in his work complemented the passion of Flamenco. Fletcher was immediately drawn into the energy of the dance, producing many painting on that theme.
However, Fletcher has recently become more interested in the figure alone, its subtleties and the infinite expressions. As he says, " I'm interested in taking a figure, placing it in an abstract space and from these simple elements, creating a narrative. I like to think that when people view the paintings, they will add their own emotions and from these, create their own interpretations." The faces, although simple, have a complexity to them. A contemplative gaze, a person deep in thought, hinting of a secret which the viewer is permitted to share. " These are not portraits, " Fletcher argues, " the models act as a reflection of my own and the viewer's self expression and vunerabilty". Because the paintings are so simple, the viewer cannot help but add their own experiences. The viewer is invited to identify with the subject and project their own mood onto the painting.
Sometimes the narrative is hinted at by a title or a theme; themes that artists have tackled for centuries. Fletcher says, " I like the idea of the Classical subject, because they are so universally recognisable that only a few simple elements are needed to create the theme. Their simplicity makes them contemporary, but they are influenced by the ancient. I like the juxtaposition."
Recently Fletcher's work has concentrated further on his own personal creative vision. He is passionate about the direction in which his work is heading. "Even though the work, in its content, is becoming simpler, the paintings are harder to resolve, as the underlying expression becomes harder to achieve. Even I don't know how they will develop. They take on their own life, creating their own spirituality."
During my years at Felsted in Essex, my main interest was always in the art room. Although I was by no means the best painter or draughtsman of the year, it was something that I felt confident with and had great enthusiasm for.
After leaving school I continued to paint and draw and developed an interest in the history of painting. This interest led me to apply to my local college to study an art course. Rembrandt, Van-Gogh and Delacroix were particular favourites of mine.
Although at college I had the opportunity to spend each day drawing and painting, I found it frustrating and felt pressured into finding the appeal in modern art. Pop art, abstract expressionism and the like were the expected food for thought and words such as ´Neo-Classicism´ and ´Pre-Raphaelite´ were as good as banned. This experience is something that I have shared with other artists, and perhaps it is not a bad thing as by refusal, my interest in the history of painting was spurred onwards, and I would now place Mark Rothko and other abstract expressionists high on my list of favourites!
On completion of my college course, I really wanted to find some sort
of employment that would make use of my skills. Unfortunately I couldn´t
afford to take my education any further, so whilst still drawing and painting
at every given opportunity, I had a go at many jobs including removals,
parcel delivery, waiting, gardening, office work etc. This went on until
one day, whilst holding some art classes at a local primary school, I
came across a small local business who specialised in Theme restaurants.
My sights were set and I continually pestered the manager until he gave
me the opportunity to design a mural for them. Before long I had secured
a job doing what I had always wanted to do - painting. I stayed with the
company for the next few years after which I found the confidence to start
painting for private sales. I set up a studio and began working from home,
whilst still producing commercial work, murals and large-scale commissions
for many different businesses. I could happily spend every spare minute
devoted to my fascination of art. When people ask me if it´s hard
to make a living from a hobby? I simply reply, "Painting has never
been a hobby, it´s just what I do!"