Where I live it is impossible to walk a dozen yards from home without seeing old weavers' cottages, cotton and woollen mills, Yorkshire stone flags or cobbled streets that have been there for decades settling in and maturing, watching the landscape change around them.
Every day I get to see and paint this history and people get to share it with me through my paintings. How wonderful is that!!
Taking his inspiration from the surrounding landscape and of course the sea, Duncan is particularly fascinated by the effects of natural light on colour. His distinctive palette conveys the cool yet vibrant shades of sea and sky as they appear in the brilliant light of the sun. Verging on the abstract, his work is characterised by the dense application of richly textured acrylics, which create a sense of spontaneity and unstoppable energy.
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.
Born and brought up in Karachi, Pakistan, Inam learned the fundamentals of sketching and painting at a young age. An influential art teacher ensured he was given a solid technical and creative grounding, and encouraged him to pursue his outstanding talent.
I have always been fascinated in two areas of art; the implicit meaning and the inspiration. I was inspired to paint a rain soaked street through films I saw at the cinema. I watched The Bridges of Madison County, a film about an accidental relationship between a man and woman. The film is always shot in beautiful sunshine, until the end, when the relationship has to end and the rain really falls, giving an implicit meaning that the relationship is being washed away. The Road to Perdition is another example. At the end of the film, relationships are ending, implied by the use of falling rain.
John Waterhouse. Many things inspire me to paint - from walking the fields and woodlands that surround the area where i live, to simply watching people going about their daily lives.
New ideas for paintings constantly enter my head and i note many of them down on paper, so as not to forget them.
When painting a landscape, alot of the information is there, but more often than not something extra needs to be added, or changed slightly. A cloud formation, a distant figure, or perhaps the way the light is falling.
I am a very visual person and my ideas tend to come from what I see around me. In everyday life - flicking through papers, watching TV, walking around town - images, compositions and colours can trigger chain reactions, sparking ideas for future paintings. I am always finding torn out references from magazines or scraps of paper with notes and sketches made in moments of excitement and inspiration days or weeks ago, that serve as starting points for new work.
I was born in Bournemouth, Dorset on the 25th March 1970 and have lived within10 miles of my birthplace all my life. I can’t remember exactly when it was, but I know I was very young when I first started learning to draw. Detail was always my thing; if my drawing didn’t look like the object or scene I was looking at then I would find it a most infuriating experience. In my recent work I have finally escaped those shackles and it’s been a very enjoyable and liberating experience; it’s only now I finally feel like the artist I’d always wanted to become. The journey here has been an up and down one and at times a real struggle.
I use my photographs and rough sketches to rekindle emotions and feelings of a particular scene; sometimes I even scribble odd words or phrases down to help this process. I like to paint my canvases flat and have them a couple of feet from the floor so I don't have to bend over too far. I feel quite energized by the blank canvas; it's a mixture of excitement and anticipation - similar to the feeling you get when you 'take off' on a blank canvas of a wave.
The magic in Philip’s art lies in his ability to use his artistic creativity as a natural form of communication. With the extraordinary beauty of the mountainous western island, Ireland, as his inspiration, Philip’s art provides us with the opportunity, albeit momentarily, to remove ourselves from the chaos of day to day life and appreciate the ordered beauty of nature.
Influenced by Cornish artist Alfred Wallis, Rebecca’s distinctive oils on canvas are beautifully depicted portrayals of life on the land and the sea. The large ensemble cast of figures, boats and sea birds creates an impression of ceaseless activity, and this is heightened by the natural curves of the classic English harbour which provide movement and energy. Her palette is based strongly on the colours of the sea, with blues, greens and greys dominating the entire canvas.
One of my earliest memories of being an artist is when I was 6 years old painting with poster paints at the kitchen table while the family were fixed in front of the TV. Using stolen architectural (just finished) drawings of my Dads I would be filling in all the rooms in colour and drawing people stood next to the buildings. I’ve never seen my Dad so upset and angry, but he is now my biggest fan.
By the end of the 1970's his watercolours were reproduced widely on greeting cards and calendars and exhibitions of his originals became regular events.
The old Surveyors' motto: "No day too long, no work too arduous" held true as ever, but now with an intense sense of pleasure and contentment. His originals - by now numbering over 1200 - are to be found in private and corporate collections the world.
With much shock too many, Alan Ingham passed away in 2002
Most of the paintings I paint just happen with no pre planning. I do however like to catalogue my ideas so I can go back, should I wish, to use them as a source of reference. I find listening to music while I paint extremely inspiring. I then try to transfer what I'm feeling direct onto canvas. It's almost as if the music takes over and my mind goes into auto pilot.
Each picture begins with a sketch on canvas. Once I'm happy with the basic composition I begin mixing colours and developing the tones I'm going to use within the painting. I'm addicted to oils and like many painters build up the layers to achieve depth and luminosity of colour and texture. There are always three or four pictures on the go at once - I work very intensely with each painting and it's good to be able to break from one to another.
Chris and Steve Rocks represent a unique phenomenon in the world of fine art. Twin brothers who were born only seven minutes apart, they have created an extraordinary artistic partnership, due to a closeness and understanding that is beyond the imagination of most of us. They have worked
together throughout their lives, and each of their striking oils on canvas is a true collaboration both in terms of technique and approach - a united response from both artists.
In 1998 I decided to start my own business at St.Nicholas market, Bristol. As well as displaying my landscapes I was commissioned for portraits, graphic design and sign writing. Whilst having some success with my business venture I had an inclination I was in the wrong surroundings for my paintings to be appreciated. With this in mind I approached an established art gallery in the centre of town. My work was accepted and I was delighted when they began to sell. The owner of the gallery showed them to an art agent who purchased several of my paintings to be sold in galleries around the country.
The cityscapes of Csilla Orban occupy a unique position on the current art market. Although they depict specific and often recognisable locations, their particular brilliance lies in the creation of atmosphere rather than the accuracy of detail.
David uses expressive brushwork and colour to represent the energy and movement of the urban landscape, providing a snapshot of everyday life. His aim is to capture the ambience and individuality of some of the world's most exciting cities in Europe and the USA. He produces his high-impact images in acrylic and oils, enjoying the immediacy and versatility of both mediums which he finds particularly well-suited to his direct style of painting. He is fascinated by the changing seasons and how the varied light affects a scene, and his distinctive use of colour is an essential part of reflecting this.
My work has been likened to the American artist Eyvind Earle - like him, I am fascinated by the shapes of shadows, particularly in the twilight of the day when they become elongated and stretch the view into the distance. This is why the cropping of my finished painting is important to me too. If I can somehow draw the viewer in, it will leave them wondering what lies just outside the view of the painting.
Says, Edward, ‘I work with urban scenes rather than rural landscapes as I see the countryside as a picture already created, however within an urban environment it is often necessary to create a picture of beauty using the architecture and cities in which we live and visit…
When I set out to produce a painting I hope that it will firstly, be pleasing to the eye, but secondly, it must also contain elements of mystery. It must contain areas that challenge the imagination of the onlooker to delve further, making them decide where and what detail to manipulate in the minds eye. Surely as a race we would never allow art to become just décor and we wouldn’t want it to become too thought provoking either – but perhaps a little!
James was born in Manchester in 1966 into an artistic family. At school he was considered outstanding and from a very young age he was actually taken out of lessons to paint. He received commissions from staff and parents and as a teenager he was runner up in a major art competition. So in the matter of a career choice he says quite simply, "there was no choice!"
Jean Claude is passionate about the southern region of France, in particular Provence, and this remains his essential source of inspiration.
The extravagance of the colours in his palette betrays the influence of Fauvist
Expressionism, featuring brilliant yellow, deep azure blues, strong reds, shades of violet and just a touch of vivid green.
His airy canvases are characterised by simplicity of form which represents the natural order of the countryside, while the thickly applied blocks of colour make the fields vibrate with light.
His paintings are executed with both brush and palette knife, which gives them a very noticeable texture, quickly communicating the pleasure of viewing the location he has revealed in. Johns works are painted with great flair, both in colour and execution, which gives them an air of excitement, thus providing the viewer with an invitation to "walk in".
John now devotes himself to painting full time, and has held a number of successful exhibitions both in the UK and as far afield as Hong Kong and New York; his images can now be found in many prestigious private and corporate collections throughout the world. He is well known for his charity work and his paintings have become famous with the stars; Madonna has six in her collection and Sting has recently purchased two.
All my work is based on the places I have visited over the last few years. I'm fascinated by the hustle and bustle of city night streets. The sounds, the smells, the lights and in particular the reflections they create. My aim is to produce work that evokes these feelings within the viewer, almost allowing them to step into these scenes, experiencing the lights, sounds and movement.
I was born in Chesterfield, Derbyshire (of ''crooked spire'' fame) in 1959 and have been told I could always draw. When I was young, I was lent a beautifully illustrated edition of ''The Jungle Book'' by a neighbour. For months I religiously copied the exquisite pen and ink drawings of animals which adorned its pages. I made a portfolio from card and wrote ''NICK POTTER, ARTIST. KEEP OUT ''on the front. It seems all I have ever wanted to be was an artist.
I sold a lot of paintings and hundreds of cards in the gallery. Selling work to strangers in your own gallery is a real thrill. At this time I began to paint in acrylics on canvas with some success. Natasha ran the gallery. We made a lot of artist friends, held previews and exhibitions and attended events such as The Manchester Art Show. My eldest son Tom and daughter Alice helped us in the business. The success of my work in the gallery encouraged me to approach other galleries. I recently had work in 16 galleries from Scotland to Cornwall. Selling work in other galleries gave me a lot of confidence, as did the constant support of family and friends.
She cites the work of Toulouse-Lautrec as a powerful influence during her formative years, but latterly it has been the dissolving forms of Turner and his all-embracing skies that have inspired her.
Olly openly admits to having "a passion for the sky"; like Constable before her, she is fascinated by its constantly changing nature and infinite colour variations, and she prefers to work in pastels as this medium allows her to blend colours and build up layers in her sunrises and sunsets.
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.
Paul has also exhibited extensively since his student days and has built up an enviable international reputation as a landscape painter.
With exhibitions across the country at prestigious venues such as the Mall Galleries, London, the Royal College of Art, London, and the Royal Festival Hall, London, Paul's work has also appeared at municipal museums and art galleries throughout the UK as well as America.
I tend to paint very private places for the viewer to own and enjoy; no people, no houses, no telegraph poles - just the driftwood of an ebb tide, mist tumbling on a
distant hilltop and silence broken only by lapping water and gulls ascending.
Two children later, Sarah-Jane left the Dales for the south coast and formed a new company with her husband in the IT Design and Consultancy industry.
It was here that inspiration struck: a great walker, she spent hours enjoying the spacious landscape and empty beaches, and on returning to her studio would feel the urge to share the beauty of what she had experienced.
This led her to take up painting once more, and her light and airy compositions do indeed capture the moment just as she hoped.
Many things can be inspirational; like simplistic day to day shapes that can be transferred into something else, or dramatic light effects. Emotions ranging from warmth and good humour, to deep black moods can also be very poignant. I find there can be more stimulation and insight gained from delving through hidden layers of the mind, than from focusing on any outer realm. What I produce just depends on what doors I encourage to open. I find it a constant challenge to try and recreate what I visualise. I can never truly pinpoint it and this is what fuels my motivation.