CELF: Commission, process

After standing on as many different bridges as I could, taking it all in – the atmosphere, the misty mornings, when the tide was in and when it was out.
I went through my collection of photos and short videos taken on my phone. One Saturday in December, I went out to the section of river by the Transporter Bridge and also George Street Bridge collecting images with a drone camera. This was so inspiring!

Back in the studio, I made a 'moodboard' then a colour palette emerged. The colours are inspired by the weather, whilst referring to Newport's industrial past. The light on the horizon as the river winds towards the sea imagines nature reclaiming Newport's industrial landscapes, transforming them into awe-inspiring places.

Painting begins with experimentation and play, as well as creative writing to develop a 'story.' Without putting too much pressure on what spills out on the page, later, it becomes the title for the works. Exploring different paint techniques and ways to make acrylics behave like oil paint, I apply paint in thin glazes - many layers combine with mono-printing. Recognisable landscape features are next to abstract shapes and textures. There are also gold leaf and 'antiqued' effects, scratched through in a colour palette of burnt orange, desaturated blues, and charcoal greys.

Often, I don't know what the painting will end up looking like. I used to plan everything out and work traditionally, but this no longer holds any fascination for me. There was always a gap between what I wanted and what I was able to do and it was frustrating. Now I work with more freedom. This makes the process much more exciting – I'm letting the paint be itself and I'm learning what it wants to do!

At the beginning, I always ask: What do I want this painting to feel like? I hope that viewers will also feel expansive and spacious, and be transported to inspiring or remembered places.”