I had the pleasure of sending artist Cerys Russell some questions about her work!

1. Tell us a bit about yourself and how you became an artist? What inspires you to create?

I was born and raised in Wales and settled in Kent over twenty years ago after qualifying as an archivist. I now run a shop in Folkestone with my partner selling our own and other Kent creatives’ work.

I grew up in a home that loved arts of any kind and my siblings and I were always encouraged to express ourselves creatively. We enjoyed going to the theatre, cinema and museums and also went on many long walks in the Welsh countryside and along the coast. A favourite topic of discussion for us as a family was how people lived in the past and we all loved reading historical books, particularly those about ancient civilisations. I still get a thrill when I see newly-unearthed artefacts ~ It’s as though our ancestors are reaching through time to connect with us still! I love that connectedness of people and place, and how we define our landscape through our activity as humans while at the same time being shaped by the land itself.

My inspiration to paint comes from the Kent landscapes I see while walking my dogs, and from half-remembered childhood memories of time spent outdoors in Wales. I love how the seasons can alter the way a particular vista can look, sometimes on an almost daily basis, and how the weather can affect the landscape: Seas that go from millponds to surging chaos or cliffs that collapse to reveal new contours and colours. I love how nothing is static and changes according to nature’s whims and moods. The landscape makes my heart and soul sing and I try to capture that through my art.

2. Did you study art or are you self taught? What are your thoughts on art education?

I am entirely self-taught, never having watched a tutorial or read a book on the subject. I started painting only four years ago because I used to spend a lot of time twiddling my thumbs in my partner’s silversmithing workshop. Eventually (because my fidgeting was getting on her nerves!), she suggested I take up painting to give me something to do while she worked. I was a bit dubious at first, as I had never been particularly good at art as a child, but I figured it might be a fun way to pass the time. So, I gave painting a whirl for the first time since childhood and now can’t imagine how I ever managed to exist for so long as an adult without it!

With regards to art education, I think it’s great when children and teenagers are encouraged to explore different forms of creativity while at school and carry this on into adult life, whether at university or in other ways. However, not all schools are able to offer a comprehensive art experience so it’s a shame that some people never discover hidden artistic talents. Hopefully, the fact that art and craft workshops and taster sessions are so popular these days will give people the chance to explore lots of creative avenues. After all, you don’t know what you can do until you try!

3. What is the most challenging or surprising aspect of being an artist?

Well, the most surprising aspect of being an artist is the fact that I’ve accidentally ended up as one! The most challenging aspect is that I so rarely have chance to paint as I work 6 (sometimes 7) days a week. When I do get chance to paint I tend to have a bit of a painting frenzy which leaves me exhausted but happy and relaxed.

4. Are there any drawbacks to your practice, or anything you’d want to change about the artistic community?

Other than having too little time, I honestly can’t think of any drawbacks. The artistic community I’ve encountered so far has been very supportive and encouraging although there are some who think art can only be truly understood by those who have completed a fine art degree (I was once told this by someone!). I find art snobbery a tad irritating but happily this seems to be a tiny minority of people.

5. Nowadays, we are inundated with both amazing and mediocre imagery. Does this concern you and how do you manage to stay motivated to create in such a crowded environment?

No, it doesn’t concern me at all; I love the fact that so many people are expressing themselves creatively! Besides, whether or not a piece of art is deemed ‘good’ or ‘bad’ varies in the eye of the beholder: We can all find beauty in something that is not overtly or traditionally beautiful, and where beauty is absent a piece can instead be interesting, thought-provoking or even inspire someone to create their own work of art.

My motivation to paint comes from wanting to express myself creatively, because I enjoy it, and because it relaxes me. When people enjoy looking at my art or want to buy it, that’s just a happy bonus.

6. What do you think about social media? Is it helpful to artists and how has it impacted your practice? Is it something you enjoy?

Well, Instagram in particular has been very kind to me. I joined the site a couple of years ago partly so I could have an at-a-glance record of my own work, and see easily how it developed and improved, and also to enjoy looking at, and getting inspired by, other people’s artwork that I would never, ever get to see otherwise. To my surprise, it has generated more interest in my work than I could have ever envisaged. A year ago I was approached by a Bristol gallery and I have had work almost continuously exhibited there since the Spring. I was also recently approached by a New York art gallery with a view to exhibiting some of my work in the future, and of course, you have found my work this way too.

One of the drawbacks to social media is it can become a game of numbers and algorithms and I worry that some artists who put up amazing works of art will become discouraged when they don’t get ‘enough’ likes. It can also create huge pressure on artists to ‘perform’. There’s a lot of information out there about needing to post at least once a day and at optimum times, etc. Personally, I think it’s best to just post when you have something you particularly want to share. Also, support and encourage other artists when you see a piece of their work that you love and engage with them by taking the time to like and comment on their posts. Ultimately, just enjoy it and don’t stress about how you’re doing compared to other people ~ That way madness lies!

7. I think your work is very beautiful, with a lot of attention paid to form, texture and movement. In your statement you say that a “painting starts in my mind with a particular colour and then the painting takes its mood and shape around that”.

Can you talk a bit about the process you go through before creating an image, and how it develops into the finished painting? How do you pick a starting colour/mood, and how do you know when an image is finished?

Firstly, thank you for your lovely compliments!

It’s a bit difficult to describe how I get to a finished painting, partly because I often feel that, once started, the painting takes on a life of its own and I am merely the conduit. My artworks usually start with a colour as, to me, that is indicative of the mood that will shape the painting. I don’t generally have much control over it, the colour will just start to nudge its way into my consciousness, sometimes the same day I create the painting, sometimes over many weeks or months.

When I start a painting, I sometimes know how I will begin it and what I want it to include but mostly I will just start painting and let it take its own course. Although this may seem a bit haphazard, it usually works out ok! Once started, it is when I get to use the ‘mood colour’ that my painting truly begins to come to life. It may be a primrose yellow sky or purple and teal mountains, but that is when I zone out a bit and let the painting take its own form. I am both present and detached at the same time, which I realise may sound a bit odd. I suppose I am detached enough to allow the colours and form to flow and take their own shape but in control enough to ensure the piece doesn’t descend into a chaotic mess.

I have a little inspiration gallery on my phone which is an amalgam of photographs I have taken myself and also of images I have found online that I think are beautiful. It may be that I only like one bit of it, perhaps just the way the last rays of a sunset catch a mountain top, or the interplay of shadows and light, or just the overall colours and mood. Or it may not be the image in and of itself that I like but that it triggers memories. I quite often flick through these prior to starting a painting as this helps get my creative juices flowing. A creative kickstart button, so to speak!

With regards to how I know a painting is finished, the answer is ~ I don’t always! It is very easy to over-work a painting, and I have certainly been culpable of that, particularly earlier on. These days, I tend to just leave the painting for a while and, once I stop having any urge to ‘tweak’ it, then the painting is finished.

8. You also say in your statement that you create your images from memories, and that people often tell you that they feel as though they’ve visited the places you paint, even if that cannot be the case. How important are aesthetics in your work and do you enjoy this ambiguity and engagement your work seems to have? Why do you think people can relate to your images in such a way?

What interesting questions! I think that the sense of recognition people often feel when responding to my paintings is because they are an amalgam of imagination, memories (both half-forgotten and recent) and real places. Many landscapes share similar aspects, hues and shifts in form, and so these are instantly recognisable even when it is an imagined vista. After all, everyone has their own imaginations and half-remembered memories and so I guess mine sometimes dovetail with theirs.

My more recent work has become more ambiguous as I have begun to enjoy exploring a ‘blurring’ in what I paint. By this I mean that, while I am painting, I can sometimes see two things at the same time and this ambiguity is reflected in the final painting. For example, sometimes I see mist and water at the same time, or a landscape overlaying a seascape, or even a sky that, if you tilt your head, could be a body of water instead. I love the fact that it can be either or both, and I think this duality allows people to put their own spin on what they see which enhances their engagement with the piece.

9. What questions/ideas do you explore through your work and do you think that people can learn or understand more about the world we live in through looking at imagery of landscapes? Why are landscapes in art important?

I think landscapes in art are hugely important as all humans have a sense of place and, to a greater or lesser extent, are defined by the environment they exist in. I suppose these are the ideas I explore in my work: How we as humans perceive and thus relate to the natural world around us.

People these days are very busy and have so many demands on their time that art of any kind helps us de-stress, whether by creating or enjoying it, as it allows us to lose ourselves in another world. We all need that, time to escape and to exist only in that moment, no matter how briefly, as it enables us to recharge and refresh emotionally and psychologically. Art truly is good for the soul!

10. Do you find it challenging to paint the landscape, especially the sea and the sky, because they are ever changing? How do manage to capture such constant movement in your work and what do you hope to capture/convey by immortalising such specific moments?

Moving water of any kind is particularly difficult and this is one of the areas I would like to improve in. Some people do such an amazing job of painting the sea I feel as though I can hear the song of its waves!

Having said that, I love painting both the sea and sky and the fact they constantly change just allows for more freedom of expression. After all, how can my version ever be ‘wrong’ when seas and skies never stay the same. For me, my paintings capture a moment in time in the same way a photograph does and, like a photographer, it is up to me to ensure that my painting encapsulates vibrancy and life as well as just a scene. This is why colour is so important as, not only does it define the painting’s mood, the different shades create shadows and depths that shift and change depending on the angle and light in much the same way a real landscape shifts and changes.

11. Do you think that successful landscape painting is about pictorial representation or should it contain something more than just a reflection of the world?

For me, a successful landscape painting is one that makes someone stop and look more carefully. It could be that the colour has caught their eye, or the shape of the skyline, or just its mood, but it is one that has resonated with them on some level. It could be beautifully detailed or totally abstract but, like any good piece of art, should instil some sort of response in the beholder.

12. Your work is more textured and abstract as opposed to pure ‘realism’, yet it still maintains a sense of reality and place. Do you think art should depict reality, or do you think that an image that has been painted is in some way its own reality?

I honestly think a painted image creates its own sense of reality and needs no other reason to exist. Personally, while I admire the incredible technique and skill involved in hyper realistic paintings, I don’t respond to them in the same way I would if they were created more from imagination. Partly this is because I love seeing how other people see the world and, for me, it’s no fun if a painting is too realistic!

13. You also write poetry as well as paint! How did you develop an interest in poetry and does it influence your paintings at all? Do you ever consider combining the two?

Well, my mother is entirely to blame for my poetic leanings! She loved books and poetry and instilled that same love of words in me too. I started writing my own poetry around the age of 12 and have continued to write it (on and off) ever since.

I’m not sure that poetry directly influences my paintings but the creative process is similar. With my poetry, a word or phrase will keep popping up in my head (much like a colour does with my paintings) and then a poem will start to form around it. Eventually, I get the itchy scratchy feeling in my head that means I need to create and I ‘download’ the poem onto paper. Well, I usually write it on my tablet these days ~ I may be a bit of a luddite but technology can be useful at times!

When I had my first solo exhibition, I named it ‘Words and Pictures’ as I included both paintings and some of my poetry. The poems chosen complemented the paintings in mood and tone but weren’t directly linked to them, but a combination of the two mediums could be a fun thing to explore in the future!

14. What is your favourite image you’ve created and why?

This is an extremely difficult question as I’m very indecisive and the answer changes according to my mood! I think I’m going to opt for ‘Portal’ though, which is one of my very early paintings. This is an image of a gateway with a glimpse of the sea beyond. It is quite naïve in style but the reason I like it is because it is the first in which I really explored colour and texture. Initially I painted it using acrylics but was disappointed by how dark and drab it looked once dry. When I later started experimenting with oils, I went back over it in oil paint and was so much happier with the results. It was also my first painting to sell. I had left it to dry in my partner’s studio and a visitor loved it so much she asked if she could buy it. It had never occurred to me before then that anyone would want to buy any of my paintings so it gave me a huge confidence boost.

15. Would you say that you have a certain style? If so, how would you describe it?

I recently moved studios and came across some of my other early paintings and was amazed at how I obviously had a style even very early on. I guess it’s like handwriting ~ It may change over time but is still always recognisable as a certain person’s.

I was once told by a fellow artist that there is a tension between the abstract and figurative in my work. I had never thought of it in those terms before but I think it’s a good way to sum it up. My paintings are not entirely realistic in style, but nor are they entirely abstract or impressionistic. I guess all I can say is that it’s just my style!

16. In your opinion, what make a good piece of art? What was the last image/piece of media that captivated you and what was it about it that left an impression on you?

A good piece of art engages and transports you to another reality, albeit briefly, and prompts emotions and curiosity. For me, I have an eclectic approach to art and enjoy quite a variety of styles. One form that can leave a lasting impression on me though is good portraiture. I’m not generally a fan of portraits, partly because so many artists just paint famous people which I find a bit boring. A portrait that really captures my imagination is one of a totally unknown person that has made me stop and wonder about the life they have led and what hurts and joys have they encountered on the way. Good portrait artists combine amazing skill and technique with bucket loads of empathy and I salute them!

17. How often do you consider the viewer when creating images? Do you create work for yourself or for others?

In all honesty, I never consider the viewer when painting. I just paint whatever is in my heart and mind and enjoy myself doing it. I think that trying to second guess what someone might or might not like would send my head into a spin and would create unnecessary pressure. Happily, I usually like the results of my work ~ I affectionately refer to them as my ‘paint babies’.

18. How often do you search for inspiration and do you ever feel pressure to create work as your career has progressed?

I feel inspired pretty much every day ~ There is so much beauty around us all that it is hard not to find some joy, no matter how small or fleeting.

As my career has progressed there have been a few times when I felt a bit panicked ~ When I first started selling work, when I’ve had dry spells of not selling any work, when I’ve been contacted by galleries and wondered if I was really good enough and whether I needed to up my game. Also, when I haven’t painted for a while and wonder if I’ll remember how! These are all perfectly normal reactions though and it’s good sometimes to challenge and question myself so I can grow as an artist. The trick is not to be overwhelmed by it and remember that the main reason for doing it is for fun!

19. What are you currently working on at the moment and where can readers find more about you and your work?

I haven’t got anything on the go at the moment as I’ve just been too busy recently. I do, however, have more than one painting ‘brewing’. My work can be found on Instagram (www.instagram.com/cerys.russell.artist) and on Facebook (www.facebook.com/cerysrussellartist).

My paintings are also available to buy via my shop/studio (http://hiraethcreative.com/paintings/4594744147), on etsy (www.etsy.com/uk/shop/CerysRussellArtist) and at Gallery Du 808 in Bristol (https://www.gallerydu808.co.uk/).