Tag Archives: Fine art

Weekend Showcase : Jack Morris (Artist)

2 May


Every Friday, 1 creative, letting their work speak for itself.


Jack Morris



Old Trafford (ink on canvas)


Artist’s Statement

“A line is a dot that went for a walk.”

So said Swiss-German artist, Paul Klee, and it is a quote which holds great visual and contextual relevance to my work. Indeed, my artwork is dedicated to analysing the subconscious exploration and emphatic celebration of the city, offering a critical yet liberated view on how we traverse and observe the grand cities and their conurbations. The notion that “a line is a dot that went for a walk” is utterly pertinent; it not only connotes the way in which the medium is applied linearly to the canvas, it is also metaphorically applicable to how it traverses freehandedly around the canvas, much as we may traverse a city.

I consider my art to be a form of cartography. However, rather than attempting accurately to replicate what the city looks like, I seek to convey what the city feels like; amalgamating the dynamic, vivacious, exciting and hostile ambiences of the urban landscape and illustrating them upon the canvas. It is a unique form of cartography, a visual representation of the atmospherically rich urban landscape.


 You can find more about Jack here:





You can see Jack’s collaboration with poet Lucy Quin here  Part of our ‘Supporting Mental Health’ Anxiety/Release Collaboration.

Thank you, as ever, for your interest.



Transformations Kickstarter Campaign

14 Twitter poets, 15 Twitter artists, 1 Contemporary reworking of Ovid’s Metamorphoses

Please do take a look: 

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Weekend Showcase : Heather Burns (Artist)

4 Oct


Every Friday, 1 creative, letting their work speak for itself.


Heather Burns


K's image of Fence

 The Fence


I have chosen to share this particular painting after much deliberation, as it marked the start of a very rich seam of responses to images and sketches that came from a long holiday spent in France over the summer of 2009. I made the painting of this and for ‘Lane’,’Chaos Granitique’ and ‘Meadow’ over the winter months of that year and into  the next up to Easter and beyond.

My ‘New Red Flower Painting’ 2013 came from a sketch made on that same holiday. I was surprised at how the paintings just seemed to make themselves and to totally evoke the particular time, feeling and experience of responding to the summer, whether in the sacred space of the lane, or the in the garden of the house where I was staying. I felt that I had come alive again as an artist through this holiday and experience. I was able to time-travel in the winter months through these pieces back to the exact time and place where the original sketch was made. This was a very special feeling for me, a revelation. I had done it before in previous works, like ‘Geronimo’s Window’ of 1989, but somehow thought that may have been a fluke somehow.

With ‘ The Fence’ I discovered I could repeat the experience. The texture of the leaves and the very particular style of French country fencing with its bleached blonde wood, came back into my consciousness completely. This was a wonderful surprise to me. The subsequent works such as ‘Lane’ flowed ever more urgently out of me. It was as if the time in France was made to last forever. The experience of looking at the work brings back the experience in a complete way that I view as a gift from the place. I wanted to share this with you.

‘The Fence’ surprised me when it manifested itself. It was almost as if the painting had made itself before I created it. Just as when a child is born and you think,’ I should have known it was you,’ I felt the same about this piece. It opened the door to so much more. It continues to influence current responses, namely the final piece that I have recently completed in the ‘Medea’ series for ‘Transformations’ for Artipeeps. Recent work may be more raw and abstract in nature, but it couldn’t have come into being without ‘The Fence’


Artist’s Biography:

My name is Heather Burns and I am a practising Artist and Art Teacher at Clitheroe  Royal Grammar School, Clitheroe , Lancashire, England. I was brought up in St.Bees Cumbria, and attended the Village Primary School, and after that the Grammar School in the next town of Whitehaven.

The village of St.Bees still means home in so many ways, and I have revisited it many times over the years resulting in the series of paintings :’St.Bees Rocks’ which you can view on my website heatherburns.co.uk The red sandstone is so characteristic of the place, and the headland on the beach constantly drew me back.

The sea was always part of my days, especially as so much time was spent exploring the countryside and walking the dog. I always miss the sea, and that sense of something absent is what I am exploring currently with my Lyme Regis painting.

Childhood was spent largely outside playing and dreaming with the sea as a constant presence. I took it for granted a lot of the time, and it is only now when it is no longer with me that I appreciate the role that it plays for me. I can hear the sound of it as I write this for you.

I went to Leeds University to study Fine Art, and travelled to Norway to research Edvard Munch’s work as part of my studies. I was able to see the originals not on display in the store at the Munch Museum, and that memory remains with me to this day. His fluid mark making and uncompromising ability to explore many taboo areas still has an influence on my practice as in my recent ‘Medea’ work.

I then decided to take my Art Teacher’s Certificate at Leeds in the year following my degree. I also got married at the end of that year to the love of my life Tony. My first teaching job was at one of the Village Colleges in Cambridgeshire, and we spent the next three years there. The demands of teaching meant it was difficult to do much of my own work, but I did make large pastel drawings as they were relatively quick, and managed to keep going with some painting.

We moved to Ely in Cambridgeshire in 1983 and my eldest son Patrick was born there. I was very happy in our little cottage and kept going with my pastel drawing, but the demands of motherhood meant that my art took something of a back seat. The drawing I did do I was happy with, and I gradually got enough work together to have a show at ‘The Old Fire Engine House’ in Ely. I had stopped art teaching and was teaching English as a Foreign Language in Cambridge in the holidays so that I could spend more time with Patrick.

We moved to Clitheroe in Lancashire in 1987, as we were missing the hills and I wanted Patrick to have stony streams to play in. I quickly got an art teaching post at the Grammar School here covering a maternity leave. Our second son Simon was born in 1988. I’ve been here ever since.! It’s been a great place to raise a family. The school has also been a significant part of my life, and has a sixth form which I always wanted to include in my teaching.

As far as the development of my own work was concerned, I found a way of working whereby I would explore motifs in the landscape in the form of ‘recce’s’ often with the family, then I go back under my own steam and draw ‘plein air’ uninterrupted, then make my paintings back in the studio.

I had a show at the Haworth Gallery in Accrington, and gradually have managed to build a body of work that represents my interest in a sense of place and the narratives that they hold.

I am moving back to working in oils after experimenting with acrylic. I am finding this exciting as the resistance on the brush and the lush colour obtainable suits my work at the moment. I have learned a great deal over the years from the practicing artists that I have worked with, especially Ian Murphy whose thinking on colour taught me so much, and his uncompromising way of working in the landscape directly from the motif. All this came through my teaching and I am immensely grateful. These things come together to bring me to where I am now.

My work has recently been on show at my brother’s gallery in Askham , near Penrith, in the Lake-district, stuartbroadhurstceramics.co.uk and I am very appreciative of the opportunity to show my work there. It has been a great springboard for me. I am currently looking for a larger venue in the north of England to show my paintings, so that you can stand back to appreciate the scale as several are quite large. I always thought I would do my best work in my 50’s for some reason. My art has always been central to my life, and the need to create will always be there. If what I am trying to say through it can reach folk in some way it will make me very happy.


 You can follow Heather on Twitter here:



* As Heather indicated, she is one of the 15 artists involved in our ‘Transformations’ poetry and art Exhibition at Hanse House in Norfolk, September 2014

Weekend Showcase: Artist, Danny C

5 Jul


Every Friday, 1 artist/painter/poet/writer, letting their work speak for itself.


Danny C


Danny C


Artist’s Biography:

My name is Danny and I live in California, USA. I have a variety of interests such as psychology, philosophy, fitness and art. Since my early childhood, art has been one of my passions… And although I majored in psychology, I took a few art classes in college and continued to draw/paint in my spare time. Whenever I’m painting, drawing, or writing… I feel a sense of tranquility and joy. As my high school art teacher used to say, you get lost in “the zone”. It is as if time disappeared and nothing else mattered at the moment; pure bliss. I have recently started to draw with charcoal (vine charcoal and charcoal pencils) and I’m loving it! Both of my featured drawings on the right side of the photo have been done with charcoal. As an artist, I will continue to strive for improvement and am excited for the future artworks to come!

If you’re interested, you can check my work on Instagram.
Follow: dcsoccer10
You can also follow Danny on Twitter:





Weekend Showcase: Oliver Pratt (Fine Artist)

7 Jun


Every Friday, 1 artist/painter/poet/writer, letting their work speak for itself.


Oliver Pratt


Oliver Pratt 2


Oliver Pratt 1


In my mind I don’t like to say I’m an artist, I don’t know what but when I saw I’m at university and people ask me what I study I seem to hesitate before I say “I study fine art”. I don’t know why I do as I love art, it’s my subject at university, my hobby and a major factor in what job I take after university. Within my work I’m always moving from one thing to the next, I have the urge to go and make something if I draw it or have taken a photo. And this has led to me form an interesting method of practice that has helped me with my work.

And one of my favourite endeavours from this was my project “Night time gallery”, this project came apparent when I noticed that the car park near where I live is vacant at night but is open 24 hours. Also at the same time I had started making my installation piece I call “spikes” and I needed to get a large enough space to set them up, so one night I packed up my installation and with my camera went over to the car park and took photos of my work. From this I discovered that it was a interesting image seeing these different sized “spikes” in a place you wouldn’t expect to find them. This “night time gallery”was the beginning, for the rest of the week I chose to take my “spikes” and set them up in empty areas at night to take photographs.

The places I went to were selected based upon the reason that during the day they are busy and are unavailable until the evening. I started off in the car park and over the course of the week I got more adventurous until I got to the point I was setting them up in the city centre in front of a bank. Alongside the photography I was developing the spikes to overcome the problems I found during the project, things like being blown over by the wind or being susceptible to rain. All of these things were taken care of by using thicker materials and adding bags of rice into the base of each spike, and by doing this I was able to be more adventurous with where I would place the spikes.


You can find out more about Oliver and his work  here:




If you are a creative from any discipline and would like to be showcased please do get in touch via the comment boxes on any of out posts or pages. Or contact me via @ArtiPeep


‘Ask An Artist’- featuring fine artist Diana Probst

8 May

Q & A


‘Someone looked at a work of mine and said ‘That is just like real life But! Better!’.  That’s exactly what I want people to think, and to have someone say so spontaneously was a joy.’ 

Diana is a young artist in Cambridge, who is continually surprised that people will pay her to do what she loves.  She likes beer and being paid on time.  She has illustrated two books and a lot of bits of paper.  She wants to paint portraits, takes commissions, and drinks tea like it is water.


Octopus by Diana Probst


Diana, Pick at least 20 From the following:

Answer in one -two sentences

1. Which living artist do you most admire?

Gosh, a tricky one.  I prefer dead people so I do not have to compete with them.  I think I most admire Howard Tayler, creator, writer, and main artist of Schlock Mercenary.  His life is centred around his professionalism; he has an unbroken run of twelve years of daily posts.  That makes me want to work more.  His art is not what I would draw or paint (although I have one of his hand drawn character sketches) so if I have to think of a living artist whose work inspires me?  No, it’s Howard Tayler.  @HowardTayler on twitter.

2. What is your first creative memory?

Drawing a person with proper shoulders in primary school and comparing it to the stick figures.  Really bad shoulders, I should add, but I was always trying for realism.  Nobody seemed to think it was all that special, though.

3. Which one of your paintings are you most happy with to-date, and why?

My self portrait.  It has twenty one days of work in it.  I want to make pieces as skillfully as possible, and the work I put in on that one makes it better than any other I have done.  The biggish version is at http://dianaprobst.com/2011/07/17/self-portrait-in-oils-day-21/img_1632 .

4. If you could be any other artist who would you be and why?

Why would I want to be anyone else?  There are seven billion people on this world.  I am one of them.  Go away, read Grey’s ‘Elegy Written in a Country Churchyard’ and then think about the question.  But if you insist, someone well off and happy.

5. What single thing would improve the quality of your artistic life?

Having my own studio set up as I want it.

6. What is the best piece of advice you have ever been given about being an artist?

It was the best bit of advice I have been given to date.  “Pull yourself together.”  It encompasses all the other bits.  But ‘work when you do not feel like it’ and ‘do that again, it’s not good enough’ are pretty close.  If I had to narrow it down, then it is to sit down and damned well work even though the thought of putting a mark on paper makes you sick.  Even when you dread it and self-doubt is strangling your love of what you do, do it.  That feeling passes.

7. What does it feel like when you’re painting?

Cold.  My bladder is often full.  My studio is unheated, and I drink a lot of tea.  A lot of people have tried to draw out some notion that it is a very spiritual thing.  I have no idea what they are talking about.  I can be satisfied with my work, but most of it is calculation.  If I am mentally masturbating over how lovely it is to be arting, I am not doing the job of making /this work/ as good as it could be.  I’m failing if I rub my feelings all over the canvas.

8. What do you think art is?

Hrrm.  I know what /fine/ art is.  It’s what I do.  I produce things where the only value is in their beauty.  I do not seek to make you question anything other than what an item might mean in context, or how I managed an effect.  In a wider definition, art alters your emotions, in a direction planned by the artist but along a route you take yourself.  You might totally ignore her direction, in fact.

9. What would you do if you weren’t a painter?

Hmm.  Another toughie.  I think I would have learned some computer language or another and be trying to make a living at that.  I like puzzles, and things that do exactly what you tell them to do, but with interesting combinations.  I could be fooling myself, though.  I might be on the dole telling people I could have been a contender.  I might be an astronaut.

10. Which other art form do you admire and why?

Poetry.  It is a compression algorithm for emotion.  You can tell people how a feeling is, in a way they understand.  ‘Love holds me captive again, and I tremble with bitter-sweet longing’.  That’s Sappho, who was very good at writing down feelings.  I admire poets who can stir a feeling in me.  It’s a real skill.

11. What has been your biggest artistic disappointment?

Another tough one.  I have failures, but I do not think any of them stand up.  Ask me again the first time I let down a client.  That will be a big one.  Until then, I just have things I have learned from.

12. Where do you work?

The Cambridge Art Salon, which is in Romsey, next to Mill Road.  For non-locals, that means the food is good.  We are off the main road, though, so the gallery part has little passing trade.  There is a stein of studios at the back. The building used to be a motorcycle shop.  I work in the MOT bay.

13. Do you work from life, from photos or from your imagination?

Yes, yes, and yes but with help.  I can do all three, and all three are different.  When working on a particular effect from imagination, I can go furthest wrong, but I like to keep trying.

 14. Where do you get your inspiration from?

Grrr.  This question always annoys me.  Inspiration is not the important part.  The important part is that after having an idea an artist puts in a brickton of work.  So if I decide to do (heavens help me) another still life in glass, I will set it up and draw it and tweak it.  I have far more ideas than I ever have finished works.  Everyone has ideas.  Whiskey costs money.  So here is something far more useful.  How do I /filter/ ideas?  I look at whether I can do it.  I look at whether it is likely to sell.  I look at whether I have all the right tools.  I sketch it a bit.  If I still have enthusiasm and can see it working, I put it into the easel or the painting table.  Ffeh, inspiration!

15. What moves you in life, what irks you?

Big question.  People treating each other badly irks me.  I admire a calm understatement more than a scream of joy.  I like good food, being warm enough, and remembering how bloody lucky I am.

16. Where do you feel art is going?

I have no idea.  I am out of touch with most modern art, and that is the sort of art that goes.  Apparently the style I work in is getting more popular again as people find bankruptcy in modernity, but I do not think that is the case.  Styles always eventually rebel against teaching, and even when teaching says ‘everything is art’ it can still move in unexpected directions.  All I know is what I do.

17. What do you think the role of an artist is?

I am going to answer this as a fine artist.  It is to get the result that represents the highest amount of skill I can put into making something look good.  I want to make it look better than anyone else.

18. What do you think your work contributes?

Skill.  In a direction.  I make work that looks better than a photo, if I can, or I might as well be a photographer.

19. What techniques do you use?

I am primarily an oil painter, so colour selection is…  Look, can you ask me this as a whole totally different question?  I have whole blog posts on this.  I can make a good picture in ink, pencil, oil, watercolour, or charcoal.  So far I have only made one work in clay.

20. Are you self taught or trained?

I had a tutor for a bit over a year.  That gave me enough information about what I wanted to and should learn, and I went off on my own.

21. What is most important to you the subject of your painting or how it is executed?

The two are usually linked, but the execution is always the thing that makes a painting.  That includes arrangement of the subject, though.  Still life or portrait or whatever, you have to make choices as part of the execution about what the subjects should be or do.

22. What aspects of your work do you think you could improve?

Most of them.  I have been a pro for two years.  Marketing is a problem for me, and that is part of the job if not part of the artistic work.  If there is one thing, it is my mastery of shape and outline in tonal painting.  If I could paint with better accuracy that would make the works faster.  I have to check and re-check a lot.  A millimetre can be a big distance.

23. What’s the biggest compliment that’s ever been made about your work?

Someone looked at a work of mine and said ‘That is just like real life But! Better!’.  That’s exactly what I want people to think, and to have someone say so spontaneously was a joy.

 24. What’s the biggest criticism of your work that’s been made?

Usually, I get criticism I ask for.  ‘needs more shadow there’ or ‘warmer onthe central part’.  I guess the mass criticism of sending off a lot of pictures to people who did not bother to write back saying ‘thank you but no’.  That annoyed me for a few days.  Far worse is people who applaud everything I do, when I think some is crap.  If they applaud the bits I think lack skill, that means it is harder to feel good when they like other things.

25. What’s your favourite period in art history and why?

French Academy.  Because Bouguereau’s Nymphs and Satyr.

26. What’s your favourite colour and why?

Favourite colour?  Not sure.  Favourite oil paint?  Ultramarine.  It goes on in layers and builds up to richness and depth.

27. What are you reading at the moment?

This eMail.  But I seldom pick up a book without finishing it.  I just re-read The War of Don Emmanuel’s Nether Parts.  I have a couple of watercolour and art books on the go, but I dip into those for help rather than reading.  Can I wave a flag here for Saladin Ahmed’s Throne of the Crescent Moon?  It might just win a Hugo award, and if not it is still worth reading.

28. Who is your favourite poet?

Ezra Pound.

29. What works of art would you own if space and cost were no object? 

Most of Bouguereau’s works.  The Peplos Kore.  A Klein blue canvas.  The Tate Modern once had a great big machine that was just a machine.  I’d like that, and The Artist’s Breath from the room it was next door to.  Venus Surprised Bathing.  That was worth a city state’s national debt, and they refused to sell.  I’d want the original, though.  Richelieu at the siege of Rochelle.  One of my friend Susan’s works, A Windy Day in Cambridge.  All of the art.  I want all of it!  And a hangar to keep it in.


To see more of Diana’s work or follow him try these:



Diana’s latest collaboration with poet/writer James Knight is available here


If you would like to take part in ‘Ask An Artist’. Do get in touch via the comment box or via @ArtiPeep

Weekend Showcase: Lisa Risbec (Artist)

5 Apr


Every Friday, 1 artist/painter/poet/writer, letting their work speak for itself.

nb. This week we are doing something slightly different in as much as Lisa has chosen more than one piece to represent herself. This is a direct reflection of her present state in transition as an artist


Lisa Risbec


I am an artist (it has taken me a while to say that and I still struggle to say it out loud!) and my work flows between textiles, crafted piece, photography, collage, drawing, printmaking and animation. I create surreal worlds, dreamlike images and handmade oddities and objects. Using vivid colours and rough textures I like to explore the unseen and the hidden.

I studied Photography and filmmaking at university 6 years ago, and I have been searching for another way to express my creativity, and keep coming back to making things by hand. I have made films using images and textures and taken photographs of musicians incorporating handmade elements.



Still image from The Moss Witch


Image of musician Gwendolen


I’m experimenting with printmaking and art journaling and taking photographs of things that inspire me and I also sing and have begun to experiment with music and writing, mainly stream of consciousness and poems to try to work into songs.


Art Journal page3


I am currently part of Islington Mill Art Academy, which is a ‘a peer-led experiment into alternative modes of art education.’ http://islingtonmillartacademy.blogspot.co.uk/

Using this group as support, and learning from them, I am attempting to school myself in fine art, and develop my artistic practice into something that fits with the kind of artist I am. As part of this I am working on a project at the moment and have begun documenting some wasteland near to my studio, mainly the nature that persists there. I’m still working out how to express my thoughts and findings in a visual way. I’m also designing and making work to sell in my online shop ‘Thinking of Foxes’ I love making something out of nothing and finding inspiration in many places especially new places.



Wasteland project


Swedish Forest Quilt

Swedish forest quilt


This is on top of running an art workshop and having a part time job! I definitely need to pace myself! I have my fingers in a lot of pies and my aim is to simplify everything down into an artistic practice where I can follow my current interests and express myself in whatever medium feels right at the time, without feeling the pressure of trying to do everything all at once. And I’m still trying to work out how! Any tips much appreciated 

www.lisarisbec.co.uk contains links to the films, blog and etsy shop



Do get in touch via the Comment box or @ArtiPeep if you would like to be showcased. You’d be welcomed!

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