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by Josh

Lamps that unite tradition and wit! We talk to Zoe Darlington

March 1, 2012 in Featured, Inspiration

Zoë Darlington has an eye for a great lamp. It takes a special character to create such witty, yet truly beautiful pieces of functional, contemporary furniture – and Zoë has nailed it. It’s been a pleasure to talk to her about her work and early career, including some very insightful advice for creatives that are thinking of starting out on their own journey.

Zoe Darlington Designs

We talk to Zoë Darlington

Lamps seem like a relatively unlikely subject for such a high level of artistic exploration, can you tell us a little about why you’ve come to focus on them?

I’m focusing on lamps precisely because they’re an unlikely object! I love that! I think it’s one of the things that makes the lamps so exciting and fresh. And I believe we should use beautiful objects in our everyday lives, they make every day better.

They certainly do!

Can you tell us a bit about your career beginnings? Where did you study for your BA (Hons) in Fine Art? How important do you feel your degree was toward securing your first position within the fashion industry, and how much relevance does it have to your work today?

I studied in Leeds, which is such a vibrant city and it was a great course to be on. The course taught me an open, creative way of thinking which is just as important in my work today, as it has been throughout my previous work. I’d probably say it was invaluable. My few years in fashion filled in the gaps between artistic creativity and commercial awareness which is vital when starting a business. It also gave me a huge awareness of fabrics – I picked prints and researched fabric qualities for the high street for years.

Zoe Darlington Designs

What attracts you to the process and craft of actually making an object, rather than just conceptualising or designing something?

I love being involved in the full circle of the creative process. You retain ultimate control every step of the way and it’s just an unbeatable feeling to be entirely responsible for creating something from concept to materials, to prototypes, to production. And I am completely uncompromising on quality. Being involved in the craft of making the object as well as designing it means I can uphold the level of workmanship that I consider to be integral to the product.

Zoe Darlington Designs

Can you run us through the typical process involved in creating one of your lamps?

It always begins with the fabrics. They’re a bit of an obsession of mine. When I see something new that I’m excited by, I can’t really rest until I’ve started making something – I’ve been known to transport fabrics back from half way across the world!

When I have my fabrics, the design process continues with shape and trims, often inspired by something unrelated – be it a film or a fashion silhouette or the angles of a chair or jacket. I go on to put my pattern making skills to good use, creating bespoke patterns for each shade before cutting and machine stitching panels for strength. The skin is then hand stitched to the frame before the same process of stretching and stitching is applied to the trims.

There’s an awful lot of hand stitching involved with my lamps and they are very time consuming, but it’s precisely this level of workmanship and attention to detail that really sets my products apart. I feel these lamps have their own history and identity and they deserve the best. I’m trying to create products that are cherished and are bought to be enjoyed and then passed down through generations.

Do you have a favourite product in your current range?

I love Logan. The finest quality heavy British wool, a traditional shape with my witty take on colour, an unexpected weight of fabric and trim… Actually it’s just been snapped up by a London Boutique as a complete lamp with a glossy charcoal base. It looks great with the store’s other products.

Zoe Darlington Designs

What other designers inspire your work?

I love Paul Smith – the man’s a legend! His take on British traditionalism, always with a witty twist is fantastic. I also really admire Melanie Porter for her fine craftsmanship in applying an old craft to upholstery with a clever spin.

Having a background in Fine Art, do you feel that any artists (rather than designers) have influence on your work, or does any particular piece inspire you?

I’ve been interested in Fine Art for as long as I can remember. As an art form it’s always fed into my thinking. I take quite a lot from colour and I love Hockney’s work. (I also love the fact he’s continued to embrace changes and I can’t wait to see the exhibition at the RA – I’m finally going next week!). David Shrigley’s spirit is an inspiration too.

Zoe Darlington Designs

Who’s been buying your products? Who’s been stocking them?

I initially made lamps for myself as I couldn’t find products that embodied the spirit of witty traditionalism and were made really beautifully, with integrity.

Others saw the work and loved them, so I made a few for close friends. Then, friends of friends started requesting commissions and that kept me busy for a couple of years! I only launched my website in November and I’ve since been selling directly to people who love their homes and interior designers who want to commission a really special piece to set off a room.

Zoe Darlington Designs

I’ve just confirmed two London boutiques to become stockists, where stock will arrive this spring.

Where to from here? Will you ever diversify into other household objects, or use different materials for your lamps?

I’ve actually already been designing some cushions to sit with the lamps. I’d been asked so often that I could see the demand was there and it’s really fun creating a little capsule homewares collection. The principle is the same as with the lamps – traditional objects made with a witty eye and beautiful workmanship.

Zoe Darlington Designs

For those people who are either just graduating or just starting out on their own with an idea in mind, do you have any words of advice to building a successful creative business?

Start small – you’d be amazed at how much more productive you can be creatively when you don’t have a huge number of overheads hanging over you and distracting you. Stay inspired, feed yourself with ideas, wait for no one to do something for you, and predictably, don’t give up!

It’s easy to think that when you have a rejection things aren’t going right. Actually, it’s more likely to be that the two of you are just not a good fit together. You can’t – and shouldn’t want to fit with everyone.

Finally, kill your darlings. If you start to obsess about “fixing” something because the idea was great, get rid of it. It shouldn’t be that difficult. Trust your instincts.

Zoe Darlington Designs

Our biggest possible thanks go out to Zoë for her generosity in giving us the time to give us such insightful answers. You can see more of Zoë’s work and find out more about her, on her website, her Facebook Page, her Linkedin Profile, her Tumblr blog, and on Twitter.

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by Richard

See the Curator collection, plus live painting, at Touchwood

March 1, 2012 in Curator Showcase, Featured

From Monday 5th March, we’ll be heading over to sunny Solihull, to present our latest Curator Showcase event.

We’re pitching up in the very prestigious Touchwood shopping centre, where you’ll be able to browse our extensive collection first hand, including artwork from Tessa Houghton, Adam Barsby, Paul Wright, Paul Bennett, Josie McCoy and many more. It’s a great opportunity to see original artwork that you just can’t find anywhere else, and equally a chance for many people to see great art up-close in their own home town often for the first time – totally free of charge.

Buy Original Artwork Touchwood Solihull

As much as we love the web and do everything we can to enhance your ability to view art here at Curator, it’s very hard to express just how much more impressive artwork is when you see it for real. Enjoy the sense of scale, texture and intense colour that real life artwork brings, and on-screen viewing sadly will never match. There’s just no way to replicate that incredible sense that comes with seeing an original piece – worked on for many hours, days or weeks, and full of emotion and personality conveyed by its creator through every individual mark.

At the Showcase, we’ll have experienced, knowledgeable staff at hand to answer questions about the artists in our collection, to talk to you about finding that perfect piece of art for your home, and to give you any assurances on delivery or our returns promise that you might have. David, our company founder, will also be available to talk to directly if you’d like to know more about the ideas behind Curator, our plans for 2012, and our vision for revolutionising the art world! In fact, we’d love the opportunity to talk to you about them and get your opinions too.

Adam Barsby painting live

Adam Barsby will be painting live on several days of the show (individual times to be announced), where you’ll get a chance to see him work on brand new pieces of art from start to finish, get insider knowledge on the techniques used by professional artists, and an open, informal opportunity to ask questions and get straight-up answers directly. Adam’s work is great to watch as you’ll see him progress at lightening speed, making rapid decisions about placement, form and colour, while keeping the bigger picture in check (excuse the pun!). He’s also a lovely chap and really enjoys talking to art enthusiasts and those who’ve never owned a piece of art alike – so don’t be afraid to introduce yourself.

You’ll find us in the Map Room at Touchwood, a large central area flanked by Costa Coffee, Dwell and Yo! Sushi.

The Curator Showcase at Touchwood Shopping Centre, Solihull
5th March until 18th March, 2012 (excluding Sun 11th March)
Touchwood Shopping Centre, Solihull, B91 3GJ, United Kingdom

For more information, directions and opening times, check out our Events Page or visit Touchwood Solihull.

Curator HQ

February 16, 2012 in Curator, Curator HQ, Featured

Today we ask Curator founder, David Norris about the new service for artists, Curator HQ launching soon.

So why have you created Curator HQ?

Well currently at Curator we work closely with a very small number of artists, just 10 in fact at the moment and we physically have all of the work we show in our Store, in our possession so that we can take it out to the events and exhibitions we organise, and to Home View appointments. So we sell the art ourselves directly to customers. And we’re going to continue to do this, and grow the number of artists slowly.

Curator HQ

Thing is though since we launched we’ve received literally 100’s of requests from artists wanting to join us, asking for advice and feedback.

How is Curator HQ different then?

The fundamental difference is that customers will view the artists’ work on our site and contact them directly to buy it. That way we can work with a large number of artists who want to be associated with Curator, share what we stand for and what we offer.

And what are you offering with Curator HQ?

I have to admit I’m extremely excited about this and I could talk for most of the day about plans I have for Curator HQ, but I’ll stick to a couple of the main ones!!

Each artist will have a detailed personal profile which will give them a host of options and make sure they can project themselves in the very best way for them. It will be easy for customers to contact them directly via email, their web site or phone and the artist specifies which they prefer. If a customer wants to buy a piece of work they do so directly with the artist. We are not involved and we do not charge any commission whatsoever.

But that’s really just the start. From launch we will be providing about 20,000 words of really tangible, practical help and advice that will be extremely useful to artists wanting to improve and sell more. Each artist will have a Dashboard where they can access the various services.

In addition to the services, by being on our site artists will benefit from our constant, 24/7 marketing drive. We invest heavily in marketing Curator and traffic to the site increases daily.

I assume this is not a free service so what does it cost?

No it’s not free. There are plenty of free listing web sites out there and artists should not confuse Curator HQ with them. Monthly membership is £9.99 but we are currently offering a 50% discount to those who pre-register, so they will pay £4.99 for each of their first 3 months. There’s no catch here, it’s just that when we launch on 22nd March we want to have artists live on the site rather than launching with an empty page!!

So what should artists do next, and what if they don’t like the service when it’s live?

Firstly they can cancel at any time. If they choose to pay one month at a time and they don’t want to continue, they just cancel. By pre-registering they are only securing their option to join at the discounted rate of £4.99. There is nothing to pay at the point of pre-registering. We will contact them nearer the time to see if they want to join.

You can pre-register for Curator HQ here, enabling your discount.

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by Sofia

Studio Updates – Josie McCoy

January 30, 2012 in Featured, In The Artists Studio

We caught up with Josie McCoy to see what’s going on in her studio lately, and what direction her work has been taking over the last few months.

You can see all of Josie’s work that is currently available to buy, on the Josie McCoy Profile Page

How important is progression within your work? Do you actively try to maintain a style that you’ve built, or do you try to constantly evolve as time progresses?

I think that if someone paints daily, then it’s inevitable that their work will gradually change. I see painting as an ongoing process of development; sometimes in ability and other times in ideas. I don’t consciously paint in a style but I am aware that I have a particular aesthetic and have a tendency to use certain colours, compositions and types of source material.

Josie McCoy Original Artwork

How has your work developed over the last 6-12 months?

In the last year I haven’t painted that many oil paintings. I have done more watercolours and drawings than usual. I´ve also spent a lot of time researching and finding source material. I plan to paint a lot more oil paintings this year, which will hopefully show the fruits of that research.

The only marked difference in recent works has been to return to using images from films and tv. The two years or so before, I was using imagery found on the internet or from magazines a lot more. I have consciously gone back to finding film or tv stills which depict emotion.

Josie McCoy Original Artwork

We absolutely loved your recent work that was presented to Pat, the EastEnders cast member on leaving the show this Christmas. How does it make you feel to know that there are well known actors or celebrities that really love your work and take enjoyment out of owning it?

Once I´ve painted someone, I feel like I know their face completely. I last painted Pat in about 2001, so it was great to paint her again. Apparently, she was delighted with it, and that makes me happy.

People buy paintings for so many different reasons, I don´t really mind what those reasons are.

Josie McCoy Original Artwork

You recently published a series of photographs documenting your working process toward a complete painting of Johnny Depp – shot each hour. Could you talk us through that process a little, so our readers get a bit of insight as to how a Josie McCoy piece is developed?

I have written a little bit about this on my blog.

I decided to document the process of the painting after seeing friends’ “work in progress” photos on Facebook. I absolutely love seeing other peoples work before it’s finished, so I decided to show some of my own. I started writing a painting diary on the blog, but don’t really have enough time to keep it up. I’ve managed to continue to update the images though.

You can see the photos of William Blake (Johnny Depp in Dead Man) here (Facebook). And of Thirteen (Olivia Wilde in House) here (Facebook).

It has been very revealing to see my own process more objectively. I have since been playing with a (so far) crude animation of the photos and am going to document all of the works in my next show in the same way.

Hopefully you can see my working process in the photos.

When you look at the working methods of photo-realists like Chuck Close, they often use a strict grid-based system to create their work. I noticed from your Johnny Depp piece that you aren’t using a grid – is this typical of your working style, do you feel it isn’t necessary to have the constraint of a grid when you work? Or is it something that you’ve used in the past?

Years ago I used a grid system to transfer the information from the source material onto the canvas, but found it a very slow way to do so, and also didn’t give me a real idea of what the image would look like scaled up until it was finally drawn. I prefer to project the negative of the photo I´m going to work from using a slide projector. This gives me the opportunity to see the image on the canvas in every possible crop or composition. I spend a lot of time choosing exactly where the face is going to go on my canvas, and the projector enables me to do this easily.

Also, I often work from several photos from the same moment of film, selecting the parts of each photo I want for the painting. This works when I project the main image, but would be much more difficult to do if I used a grid.

Josie McCoy Original Artwork

Can you tell us a little about some of the people who have purchased your work in the past?

I haven’t met most of the people who have bought my work in the past, but every so often get a truly lovely email saying how much joy my painting has brought someone.

The people I have met who have bought works have all been incredibly complimentary and supportive of what I do. Often people buy several works, not necessarily at the same time, but one every year or every few years, and this happens irrespective of whether I´ve met them or not.

I also get some wonderful feedback from people who have commissioned paintings.

How much does the outside world of celebrity affect your subject matter? What defines the subjects you are choosing to paint? Do you see your work as a reflection of popular culture, or a commentator on it?

I live in Valencia most of the time, so this obviously influences what I watch because I only have access to certain television channels. Although there is an excellent DVD rental place near my house.

I generally paint what I´m watching for pleasure, rather than trying to watch things to paint, although sometimes I do watch things specifically to find source material. At the moment I am preparing for a solo show in Valencia in May. I want to find some great movie stills from Spanish films, so I am watching movies by Spanish directors, notably, Luis Buñuel, Pedro Almodóvar and Julio Medem.

Until now, I have always chosen contemporary films because I like the idea of art reflecting society and popular culture. The paintings also act as a kind of diary of what I´ve watched and what moments of what I´ve seen have interested me. However, for my new show I am looking back a little. I am attempting to find films (and film stills) which in some way represent each decade from the 50s up to now. This is obviously entirely subjective. So far I have started paintings of Elizabeth Taylor in Cat on a Hot Tin Roof, and Sean Young in Blade Runner, for the 50s and 80s respectively.

Josie McCoy Original Artwork

Do you ever see yourself working in another style or moving into a different subject matter? Would you ever paint still life, landscape or abstraction, for example?

No, I have only ever been interested in painting faces.

Is there anything else you want to update us about your work or your life over recent months?

One of the best things that has happened over the last year has been the move to the new studio, I think I mentioned it in the last interview.

It´s a former boxing club and is absolutely huge.

You can see the work of my studio mates in the following links:

http://aliciahedwig.es/index.html
http://ramasancarini.blogspot.com/
http://www.sportingclubrussafa.com/es/actividades/25-sporting-crea/115-francisco-canavese
http://www.sportingclubrussafa.com/es/actividades/25/129-piconero
http://www.sportingclubrussafa.com/es/actividades/25/286-ana-higueras

As you can see, we´re quite a diverse group of artists, but that´s what group studios are all about. It makes me very happy to paint there.

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by Sofia

Becoming a Decor Diva

January 29, 2012 in Featured, Interiors

We’ve been talking to Nadya Savannah Sawney about her career as an interior designer, current trends, how art impacts an interior and about her work at Decor Diva Interiors.

Could you give us a brief outline of the background of your business and what services you offer?

My creative talents and my ability to translate a client’s visual desires are the backbone to my business. I offer the usual services supplied by an interior designer… but my forte is my ability to ‘see’ paint colour on walls before it is applied. This gives me the confidence to advise and consequently inspire my clients about paint colour choices. I firmly believe that transformation of rooms absolutely can be achieved simply by having the ‘right’ paint colour on your walls; likewise get it wrong and no amount of fabulous furniture, window dressings or accessories will look good.

Decor Diva Interiors

How long have you been working as an Interior Designer?

Since a child. In business: 3 years.

Why did you decide to become an Interior Designer?

Expression through interiors has always been part of who I am. So in essence the only change I made was to make it into a business. It has always been a deeply intuitive gift, for which I am very grateful.

What were you doing beforehand and how did this lead you into Interior Design?

I rode horses for a living; worked in the Music Industry then the Television industry. All the aforementioned are very creative areas… all supported my creative talents. And always over the years I was helping friends and family to make interior choices. So the transition into interior design being my full time business was quite effortless on one level but also the beginning of hard work to get my name ‘out there’.

Decor Diva Interiors

Above: Nadya Savannah Sawney

Where are you based?

I am currently based in Buckinghamshire. I work from home so my environment is what I make it. Working on my own from home can be quite insular but somehow that alone time balances out between family life and commissions. Sometimes I get my best creativity flowing when I am working on a project alone at home. Other times one needs interaction with people and places. I guess it is all about balance. Indeed, so is interior design.

Do you work alone or do you have assistance?

I work alone.

How would you describe the kind of work you do?

The work I do is translating a client’s visual desires into an interior reality that feels and looks comfortable, harmonious and inspirational. I call that ‘Luxury with Imagination’.

Do you have a particular style?

Yes I do …and it’s called good taste! One may say that good taste is subjective, and of course it is, but I feel that within us all is a built-in barometer of what feels good to look at and live in. As a designer my aim is to find that ‘feel good’ feeling within my client and then work from there. Sometimes that involves showing alternatives to their taste; steering them away from a look that has no visual harmony to something that they love yet previously would never have thought of. Other times I expand on the clients taste. Again, showing alternatives that would have previously remained undiscovered. And let’s not forget the clients home. It too has a voice – rooms will let you know what works and what does not.

Decor Diva Interiors

Has working in the music and television had an impact on the style of your work?

Absolutely. When I first worked for a rock star in the 70′s I was based at his Manor house in Gloucestershire. I was used to such homes being decorated in quite traditional ways but his home not only had that style but also influences from Morocco and America. The look and feel of that house along with the interior of Blakes Hotel in London certainly had a very positive and lasting effect on my creative outlook towards home interiors. I spent time staying at the hotel in the mid seventies and the interior designed by Anouska Hempel was totally fabulous and unique.She was also designing amazing interiors back then and using certain colours on walls way before any other designer took those kind of leaps. And it all worked to perfection. Her work is so inspirational.

Does listening to music or watching TV ever inspire design ideas?

I garner inspiration from the music that I listen to all day and every day when I am working. And like most consumers, I watch television as a way of ‘switching off’. Suffice to say if a item of furniture, lighting or window dressing leaps out to me I certainly do take note.

Do you ever take inspiration from an artist’s work or an art movement?

I feel inspiration in abundance when looking at art that I like. I just adore the work of Eoghan Bridge. His sculptors of horses with humans are exquisite. They literally fill me with the warmth and love they exude when I look at those pieces. My Husband introduced me to early American artists such as Grant Wood and Thomas Hart Benton. I love their work namely because of how they use colour to describe their imagery. The black and white photographer O.Winston Link (also American) captures exceedingly strong emotion through his work and Richard Avedon is another amazing photographer… his work is simply stunning!

Do you use specific types of materials or colours in your work?

I am not held by any particular materials. Having said that; there are some materials I loathe. Pine and artex spring to mind! Plus, I am not afraid to suggest deep colours to a client. Especially for a small space. I so disagree with the notion that one should always paint a small room or a dark room in a light colour. A deep colour in a small room makes a statement, which is ‘I mean it, I am small, strong and gorgeous!’

Have you ever done or considered any commercial work?

Thus far I have not done any commercial work. I would welcome the opportunity, depending on what it is of course!

Decor Diva Interiors

What size of house do you usually work on?

There have been a range of sizes and not as one would imagine always easier because of house and room size. Sometimes a very large drawing room/sitting room would be a designer’s dream to do; other times a nightmare! I seem to have attracted all different kinds of shapes and sizes of rooms and well as houses. From an 18th century cottage to a 50′s bungalow.

Do you mainly work on whole houses or just rooms?

Both. One of the services I offer is paint colour consultations which is what is says on the tin. But invariably the client sees such a profound transformation from my paint colour suggestions, I am asked to extend my input. So what can begin to be a paint colour commission for one room will extend to more interior design for the room and other rooms in the house.

What is your dream project?

A huge country house here to renovate and add on to; I love Orangey’s and would build a massive one onto the kitchen and grace it with scrumptious furniture, rugs, art, mirrors and flowers. Then I would cross the pond and ‘Decor Diva’ a beach house in California!

Who would you like to work with if you could?

Ralph Lauren or Anouska Hempel. Both of whom are designers of distinction, class and style. I simply adore their interiors and garner tremendous inspiration from each of them.

Who would be your dream client?

It is characteristics more than a name. He/She/They would be aware of their visual strengths and weaknesses and be honest to themselves and therefore me throughout the process of the job. It is my call to translate the feeling and ideas a client has about their living space through my interior design and it is the client’s call to be open to inspiration whilst remaining true to themselves. Just think back to the hundreds of TV makeover shows and how one knew as soon as the TV crews were gone …the ‘new look’ would be following swiftly behind!

Are there any Designers or Artists you would love to collaborate with?

Ralph Lauren, Anouska Hempel, Bob Dylan, Eoghan Bridge, Heather Jansch.

What defines success in the industry for you?

Word of mouth recommendations. Features on my work in major interior design magazines and in on line publications such as The Art Curator.

What are your plans and aims for the next year, 5 years?

To continue to inspire and be inspired. To have national and international recognition for my work.

What’s popular in the Interior Design world now?

Deep colours seemingly are making a comeback. Which is fantastic as companies like Farrow & Ball have some very beautiful deep colours. Because of the pigment in their paint the paint colour changes throughout the day and evening depending on the light in the room. To me that is a most glorious and generous contribution from a paint colour to a room and I thank F&B for that!

What’s cool for 2012?

Sourcing, sourcing and more sourcing. If you love a ‘look’ or a piece of furniture in a magazine that you just love but do not have the budget for, sourcing for the items or something similar can solve that.

Any particular colours or themes?

I love mixing fabrics always have… Paisleys with leopard skin prints; plaids with flower prints; pinstripes with checks or any combination there of. Needless to say the fabric’s material, design and colours are all important to get the ‘look’ right. Use any of the aforementioned in fabrics that fall short of the mark and one would have a dreadful mess of garishness on one’s hands. Use the right fabrics and one has created something very special.

Do you feel that you are defining trends?

I am not sure I am able to answer that today. Ask me again in a few years time! My input is unique but it also has ears..ie: I listen to what my clients ‘feel’ they want and then I translate that directive through my talent and experience. Of course I also garner inspiration from trends that successful designers have given us all. But I am not held prisoner by them. Nor should anyone else feel they have to go for a particular look because it is fashionable. That look may not work for their home, bits and pieces of it may. That is where I come in, to get the ‘jigsaw pieces’ looking like the perfect fit.

Decor Diva Interiors

Do trends in Interior Design often follow similar trends in music and fashion?

Yes, I think so. Especially in the UK where we have seasons. Where as in the spring and summer months one’s interior wants to breathe in the sun and the colours in your home will want to reflect that; in the autumn and winter months our rooms like to feel cosy and warm and of course wall colour and or accessories can achieve the change. But as with music and fashion. Our tastes change, what one loved two years ago may be something you can’t stand looking at today.

That is why I will always advise clients on NOT going with a new trend in an area that is costly and disruptive to change. Loud and garish splashbacks spring to mind.

Do you consider Interior Design as an art form in itself?

Yes I do. How a room’s interior ‘speaks’ can change its language and therefore translation to being one of clarity – to one of confusion.

How can a single piece of art change the mood of a room?

It can completely change the vibe of a room… exactly like a human can. Art like us is energy and each piece has its own vibration. The key is to allow the piece to ‘be’ without it compromising the space around it and vice versa.

Do you incorporate artwork in any of your existing designs?

Yes, yet having said that I do not think artwork should dictate anything to a room other than it’s own particular beauty. When a client starts talking about ‘matching’ furniture, wall colour and or accessories to artwork I steer them away from that concept. Other wise the artwork and the room’s interior become to busy for one’s sub-conscious. One starts feeling uneasy rather than inspired and relaxed.

Do you have any artwork up in your office/studio?

Yes I do. I have artwork which was chosen for several reasons; not least because of it’s vibe. I think most people choose artwork for the feel they get from it. I am also not afraid to mix up a take on a theme by various artists, or indeed integrate paintings with other forms of art. I have a horse’s head sculpture that sits on one side of my desk that sometimes I find myself stroking!

Is it inspiring, motivating, or does it set any other kind of mood?

The art work and the sculpture do offer me a very relaxing and inspiring vibe. None of it is overpowering.

Do you have a favourite painter?

I enjoy quite an eclectic array of painters. I love the evocative work of Edward Hopper. His work entitled “Cape Cod Morning’ puts one in that location. I really like his other paintings too. I also enjoy portraits of Native American Indians. The power and the energy in those faces is quite extraordinary. Some Cuban art has been known to inspire me as their use of colour is so different to any artist working in a different climate therefore light. And being a horse lover, I do love Stubbs – although not a painter per se, the Driftwood Horse Art created by Heather Jansch is truly beautiful.

Each artist I like, all seem to appeal to my sense of strength that I receive, when feeling and looking at light, colour, space and emotion.

Is it important to have a focal point or centrepiece in a room?

I do think it is useful to have a centrepiece and or focal point in a room. It is a good place to start for balance.

How might someone display a painting or sculpture in a room?

Carefully and thoughtfully. I do not mean that to sound flippant. I really do mean carefully and thoughtfully. A painting or indeed a sculpture placed incorrectly in a room will not only ‘fight’ the space but also distract from the beauty of the piece or painting.

What factors of the room does art affect? E.g. colours, soft furnishings, room accents?

It would affect all the factors of the room and the key words are complement, complement and complement again. Everything about an art piece has to be taken into consideration… its size, colour and its statement. I have seen art hung where is does nothing for the picture or the room. Suffice to say, I have seen that same piece of art work hung elsewhere sometimes simply on a different wall in the same room and suddenly one has a stunning visual experience.

What steps did you take to break into the industries of Interior design?

I said yes to a friend asking me to renovate her property.

What path would you recommend to someone considering it as a career now?

Belief in one’s ability is crucial and in practical terms..anything from doing work experience in interior design shops to work experience with a designer.

Have client’s expectations changed?

I think the interior make over TV’s shows have given people a very odd perception of how long things can take. For good and for bad. This is were communication with the client is crucial. Expectations need to be aired and then the reality of them talked about. Informed discussion and informed choices are always my preference.

What are the advantages of hiring an Interior Designer?

Getting ‘it’ right. How many times have I seen as a friend (let alone as a designer) homes that have been vandalised with bad design choices. I once went to a house whose owner was very proud of how she had ‘matched’ her kitchen floor tiles to her pine orange cupboards. Visually it looked as though a whole load of pumpkins had exploded in that room. It could have all looked so different. Individually nothing was wrong with the tiles or the cupboards but together their colours just did not work. That is where an interior designer can save the day and together with the client create a fantastic kitchen or what ever room it happens to be.

Can you give us 5-10 reasons why someone should hire an Interior Designer if they are thinking about giving their house a makeover?

As above is one reason! As above is a second, third, fourth reason.. and so on! Most people think that hiring an interior designer is very expensive without actually knowing what costs are involved. I have saved my clients a lot of money especially with paint colour choices and also through guidance to the right product or furniture item.They experience getting it right the ‘first time’ instead of ‘eventually’ through trial and error, the client ends up saving money and time and more importantly – enjoying the process. No one is going to love their new interiors if the journey was full of stress and costly mistakes.

Our thanks go out to Nadya Savannah Sawney for her time answering our questions.

You can find out more about Nadya and her interior design business via her website at www.decordivainteriors.com.

In The Artists Studio with Adam Barsby

January 20, 2012 in Featured, In The Artists Studio

We caught up with Adam Barsby at his studio for a chat about his current and past work, and a whole lot more. You can view all of the original painted work by Adam, on the Adam Barsby Profile Page.

Buy Adam Barsby Original Artwork Online

What or who first motivated you to start creating art?

I realised from about the age of seven that I had some ability to draw. I won a Milky Way in a classroom competition.

We were asked to portray ourselves in an unusual setting, which seems a bit deep for kids of such a young age but it got me going and from then on I used to draw alot when I got home from school.

I had a mate who could draw well too, and we would go round his house where his dad (for some reason) had a load of wallpaper rolls stashed away. We used to roll out the paper on his dinning table, sit at either end and draw battle scenes with ships, planes soldiers and bombs. We would create huge battles until we had destroyed each others armies.

This made me realise (somewhat subconsciously) that art could be fun and that it could portray a story or a message – something that has stayed with me to this day.

Do you feel that you were born with a certain artistic talent that you nurtured over time, or do you believe that most people can turn their hand to art in one way or another, given enough training and practice?

I think you have to achieve results and be happy with what you do to continue. If that happens regularly enough for you to keep going, then you have something to build on. Some people would call that talent I guess, but we all have areas where we are stronger at some things than others.

Having said that, I knew people who had bags of ability but chose either not to push it or concentrate on other things. I guess because I absolutely loved creating art, it kept me going and improving.

Buy Adam Barsby Original Artwork Online

Did you receive a formal education in art, and if so to what level?

Yes. I studied at art college in Maidstone doing Illustration. I got a first class honours BA. After that I took time out and was asked to apply for an MA, but by that time I’d got used to having money in my pocket that I didn’t pursue it any further.

How important do you feel art education is in developing a career in the creative industries, either as a fine artist or elsewhere?

I know artists who have done very well in the art industry who didn’t have formal education. However, I wouldn`t recommend it.

I absolutely loved what art college offered me. Not just the practical pursuits which stretched us enormously, but the time it gave us to ask questions about ourselves. There were countless tutorials which focused on what made us tick.

It was a journey of self discovery, a fantastic time which prepared us for what was out there not just in terms of art but how we operated as individuals in life in general. I wouldn’t have missed that for the world.

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Was there a specific point in time in which you realised that you had developed a distinctive style that you could call your own? How much hard work did that take to achieve?

The final year at college we were encoraged to develop a style we could call our own. I looked at artists work that I admired and this influenced my style initially, but once you’re off and running, you develop naturally just by completing one painting, evaluating and moving on to the next.

How important is diversity of style to you? Is it important to maintain constant progression and agility as an artist? What happens if you stay still for long?

My styles have changed over the years several times. There was a point early in my career where the demands wthin the commercial art industry required me to stay the same for many years. However, this is an unatural way to work and since then I’ve explored various styles.

The last few years have proved more creative because of it.

Buy Adam Barsby Original Artwork Online

What artists have you looked to for inspiration, either historically or current? How much have their ideas and style influenced your work?

My early work was influenced by Alfred Wallis, Ben Nicholson and the St Ives group of artists. Stanley Spencer was also a favourite, but these days I try to keep an open mind and appreciate many different artists and genres from traditional to modern. I think it’s important to broaden one’s artistic vocabulary which in turn provides a greater awareness within one’s own pursuits.

Can you tell us a little about your studio and working environment? Do you have a specific place in which you work, a home studio, a dedicated external studio, a managed studio, something extravagent?

I used to have a studio which I loved but had to give it up, sadly. I now work from home which I really enjoy. It’s not cold or damp thats for sure! I enjoy the creature comforts and its more flexible. I can work whenever I want and its nice to keep looking at what you’ve just done that day which helps evaluation. I’m comfortable working in most places really. When I was going through a messy divorce I even painted in hotel rooms!

How important is a structured workflow to you? Do you create spontaneously, or is it a more methodical process than that?

I treat painting as my job and I’m pretty structured about it.

I feel guilty if I don’t put in the hours so I work until the light goes which isn’t that long through the winter months, but I make up for it on the computer or researching for the next day.

I have phases where sometimes I like the radio on or music playing. Other times, I work in complete silence and this isn’t a concious thing – I just begin doing something and then realise after a few hours that all I hear are the birds outside. Quite nice really.

I’m very comfortable being alone during the day as it’s filled with what I would describe as visual conversation so I don’t feel alone at all. I do love it though when my wife and son come home. I find it interesting that the atmosphere within the house changes from work to home when they come back.

Buy Adam Barsby Original Artwork Online

Are there any particular techniques that you use to maintain focus and high productivity?

The pressure to pay the bills is more than enough!

Would you agree that having a good idea is just 1% of the task, the other 99% is just plain hard work?

A good idea if it works is way more than 1%! You can work for days on something just to realise that actually your first idea wasn’t that great. Getting the balance is important and so time thinking is invaluable.

Similarly you can labour a painting all day and it looks the worse for it, other times you can make a few light marks that just look fantastic. Being in the moment is what it’s all about. It’s when everything is working in tune with itself so much so that it happens without much thought. I think sports men and women call it being “in the zone”.

Is it difficult to seperate your life and work at times? Have you developed techniques that help you address the balance between the two, or do you find yourself thinking about your artwork all the time?

My work is an extension of myself and its who I am so I don’t make the distinction. For example, I may be watching the TV or talking and my mind will wander back to painting. I enjoy it so switching off isn’t an issue. I’m not a slave to it either. If I want to do something else, then I will and the break from work does me good.

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How successful an artist do you see yourself? Does it give you pride to know that you are successful in creating artwork professionally and living off the proceeds?

I used to feel pride but now I just push on. There are peaks and troughs as with many things. I’ve had a few knock backs too which stops you from getting carried away. I don’t think its for me to assess my relative success and anyway on what would you gauge it by – money? How many paintings I’ve sold? How many years i’ve been doing it? I think I’d be wasting my time thinking of those things. They’re not important. Being happy is and I have a great wife and kids and I’m in good health thankfully, so that’s what counts more to me.

How do you know when a piece is finished? Do you ever find yourself overworking something? Is finishing something you find easy or difficult? Do you ever procrastinate from finishing?

It’s nice when you do something new because you’re not sure where the end is. In most cases its when it just feels right to leave it as it is. Finishing a painting is just the final word in the visual conversation I mentioned earlier. I don’t get too hung up about the end as theres much more going on before that point. Some days I’ll go back over something if l feel it needs it but after so many years l know when to leave it alone.

Where do you look to for inspiration outside of the art world?

Gathering reference material is very important and the internet is invaluable for sourcing all sorts of information. If I’m out walking I’ll always keep looking at things. For example it might be people walking in the town or the way trees look in the park which might be useful to commit to memory. Outside of that, I listen to music or become focused on books or the TV. I enjoy finding out about other people’s lives and experiences. It helps me to understand how my life fits in with things.

Buy Adam Barsby Original Artwork Online

Do you actively seek feedback from your friends, family, or viewers of your work? If so, is it important to take that feedback on board and use it to develop or change direction?

I find it extremely useful to get other peoples opinions on things. My wife is my biggest critic. Lets face it she knows more about what I do than anybody, and I value her opinion. She’s no artist but I suppose I like to think she represents a general view. However, I know to take other people’s opinions for exactly that. Everyone has their own likes and dislikes so one has to take a balanced view. The voice inside my own head is ultimately the most important!

When you’re struggling with a piece, stuck for an idea, or disappointed with how something is progressing – how do you motivate yourself to do better, to get going again, or just to get out of bed?

The pace that I set for myself has always been pretty quick. I am prolific so if I have a failure I don’t get hung up on it. I believe one of my greatest strenghts is just to keep going no matter what. I listen to the commitment others put in to being successful and they all put it down to determination to continue despit the setbacks, no matter how many you get.

Dealing with failure is essential to success.

Away from the studio, can you tell us a little about Adam Barsby? Who is the artist behind the brush, what do you do to relax, and what things are important in your life beside painting?

Like most people, I enjoy spending time with family and friends. I like restaurants, coffee shops and of course pubs! My wife and I are keen runners. Its a great stress buster and gets me out of the house. I can’t stand gyms and anyway, after doing my back in a few years ago, my doctors words were “gyms are bad for your health!” In my case that was true as I slipped a disc on one of the machines and needed an operation to rectify it. Running may not be the best thing for my back, but I love it.

I love to spend time with my three year old son too, he certainly keeps us on out toes!

For many years, I used to be in bands playing local venues. I play the drums and a little acoustic guitar. I like my music and often relax trying to learn a new song if the chords aren’t too difficult! Music has been in my family for many years so it was a natural hobby to take up.

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by Josh

Desert Expanse. New Gerry Dudgeon work on sale now

January 18, 2012 in Curator, Featured

We’ve just added four new original paintings from Gerry Dudgeon to our collection, all of which are currently on sale via the Gerry Dudgeon Profile Page. These works are intense with the heat of India and Morocco, with views of the desert and the atlas mountains, dotted with wonderful Islamic archways, minarets and kasbahs.

Gerry Dudgeon - Blue Portal, buy original artwork

Above: Gerry Dudgeon – Blue Portal
Gerry Dudgeon - Desert Expanse, Jaisalmer

Above: Gerry Dudgeon – Desert Expanse, Jaisalmer
Gerry Dudgeon - The Jbel Sarhro

Above: Gerry Dudgeon – The Jbel Sarhro
Gerry Dudgeon - Through Reds

Above: Gerry Dudgeon – Through Reds

In The Artist’s Studio with Tessa Houghton

January 18, 2012 in Featured, In The Artists Studio

We talk to the latest artist to join Curator, Tessa Houghton, about her amazing original painted works, her career history, and perspective as an artist.

You can see all of Tessa’s work that is currently available to buy direct from Curator, over on the Tessa Houghton profile page.

Buy Tessa Houghton original artwork online

What or who first motivated you to start creating art?

I couldn’t really say what triggered it but I have been drawing for as far back as I can remember and my parents encouraged me to do so. My dad used to bring back printer paper from his office when I was little, so that I could sketch on the back of it. I was obsessed with horses when I was young and that was what I used to like to draw.

Do you feel that you were born with a certain artistic talent that you nurtured over time, or do you believe that most people can turn their hand to art in one way or another, given enough training and practice?

I think that you can teach someone to be a draftsman and how colour works but you can’t teach the desire to create and the drive that goes with that. I had lots of encouragement as a child and I suppose because I loved drawing so much I was practicing all the time and learning skills.

Did you receive a formal education in art, and if so to what level?

Yes. I completed a Foundation art course at Blackburn college then did a degree in Fine Art at Liverpool John Moores University.

Buy Tessa Houghton original artwork online

Above: Tessa Houghton

Can you tell us a little bit about what your early ideas and work were like back at school and at degree level? Do you look back at this time with fondness or foolishness?

Well at university my work was based around microbiology and cell structures in the human body!

It seems a million miles away from what I do now but in some ways when I look back I can see how one progressed to the other I still painted primarily large abstract canvases and there were similar underlying themes about identity and place that run through both. I think I look back fondly and foolishly to be honest!

Was there a specific point in time in which you realised that you had developed a distinctive style that you could call your own? How much hard work did that take to achieve? And how do you now define your style of work?

I think moving to Barcelona and living within such close proximity to the sea had a profound effect on my work and I really started focussing on natural landscapes. It wasn’t something that I set out to do but it happened quite naturally and as I started working towards exhibitions I had the time to develop ideas in more depth and experiment with different mediums and techniques.

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Although the work is recognisably landscape based it doesn’t necessarily depict specific places, but rather it attempts to convey mood and atmosphere. I don’t always like to pin my own meanings to the work as it can inhibit what someone else’s interpretation may be. It’s definitely an intuitive and emotional process of mark making and building up of layers and textures. Sometimes the process involves taking away and covering up what has been already done, almost sculptural in some cases.

I suppose ultimately I would define my work as semi abstract and gestural.

How important is diversity of style to you? Is it important to maintain constant progression and agility as an artist? What happens if you stay still for long?

Yes I think you instinctively know when the progression of an idea has reached a conclusion and your work can feel stagnant if you continue to thrash away at it.

Personally I seem to have developed a pattern of working on a body of paintings quite intensely for a few months at a time then having a refresher period where my brain needs to rest for a while and generate new ideas and energy!

What artists have you looked to for inspiration, either historically or current? How much have their ideas and styles influenced your work?

I’ve always been drawn to the abstract expressionists work from the 1950s, like Rothko and Diebenkorn, and that really spontaneous gestural approach. I think I definitely carry that over into my own work.

Buy Tessa Houghton original artwork online

Can you tell us a little about your studio and working environment? Do you have a specific place in which you work, a home studio, a dedicated external studio, a managed studio, something extravagent… ?

I have a small home studio which I love. It is in my attic flat in Barcelona and has lot’s of natural light and looks out over Calle Aragon and Calle Rocafort in the centre of the city. There isn’t masses of space but I am quite organised and I love being able to work whenever I want.

How important is a structured workflow to you? Do you create spontaneously, or is it a more methodical process than that?

I tend to work quite methodically. I will go into the studio at 10 in the morning and work all day until around 6 or 7. It depends on whether I have something specific to work towards like a show or commission. I don’t tend to get up in the middle of the night to paint.

Are there any particular techniques that you use to maintain focus and high productivity?

Not especially although I do tend to work on 2 or 3 canvases at once, particularly in the beginning stages when I am working out compositions and underpainting .

How successful an artist do you see yourself? Does it give you pride to know that you are successful in creating artwork professionally and living off the proceeds?

I feel very lucky to be able to make money from something that I am so passionate about. However the real buzz comes from knowing that someone out there has connected with something that I’ve created, so strongly that they have wanted to take it home with them. It’s a good feeling.

How do you know when a piece is finished? Do you ever find yourself overworking something? Is finishing something you find easy or difficult? Do you ever procrastinate from finishing?

It really varies from piece to piece and some paintings have driven me crazy. Sometimes you instinctively know when a piece is finished but sometimes they can be very hard to resolve. You know that something is missing but dread ruining what you have already done. Usually I step away from it for a while then come back later and look with fresh eyes.

Buy Tessa Houghton original artwork online

Where do you look to for inspiration outside of the art world?

I live in a great, vibrant city so there is a lot of inspiration right there on the doorstep. I also love music, reading and travel to name but a few.

Do you actively seek feedback from your friends, family, or viewers of your work? If so, is it important to take that feedback on board and use it to develop or change direction?

I do put images out there for people to see and find it fascinating to hear people responses to it, but I wouldn’t say I actively seek feedback. When feedback appears unsolicited it is much more rewarding.

When you’re struggling with a piece, stuck for an idea, or disappointed with how something is progressing – how do you motivate yourself to do better, to get going again, or just to get out of bed?

That can be tough but if the ideas aren’t flowing naturally I would probably go out and do something completely unrelated to painting, like a big hike through the countryside or a wander through the city. Sometimes you have to just switch off for a while and recharge.

Away from the studio, can you tell us a little about Tessa Houghton? Who is the artist behind the brush, what do you do to relax, and what things are important in your life beside painting?

I tend to divide my time between two very different places. I come from a small rural village in Lancashire where I still have family and friends I’ve known all my life. I come back regularly to visit and love it. There is some really beautiful countryside close by and my parents still live in the house where I grew up, next door to the Leeds Liverpool canal. Life in Barcelona is very different and definitely more hectic. I like to watch live music and even started learning to play bass last year. I ski quite regularly and learned to scuba dive a couple of years ago.

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by Sofia

Cut Out and Flutter By. Rebecca J Coles

January 17, 2012 in Featured, We Love

Rebecca J Coles

We have an enormous amount of love for these wonderful hand-cut butterfly works from Rebecca J Coles. What do you think? Here’s what she says…

“A journey travelling with a pencil, paper and a pair of scissors…

As a paper artist my work currently focuses on the reinvention of entomological cataloguing, display and the assemblage of shapes. I am fascinated with the process by which three-dimensional decorative forms materialise out of flat sheets of paper. By deconstructing various paper ephemera I create unique works of art.

The delineation of these forms within the ethos and methods of my work requires an absolute labour of love, where repetition has always been notable and each piece is composed of hundreds if not thousands of profiles.

Each shape is hand drawn and then intricately hand cut from carefully selected paper, focusing on recycling a medium that would otherwise be discarded and lost. I dissect small details of colour, imagery and text into silhouettes that are then re-sculptured, pinned and encased. My aim is to transform an every day object into a piece of work that invites the viewer to see beyond its original source.”

Rebecca J Coles

Rebecca J Coles

Rebecca J Coles

Rebecca J Coles

Brand New on Curator – Tessa Houghton

January 9, 2012 in Curator

We’ve been working hard here to make a lot of brand new artwork from some of the finest emerging and established contemporary artists available to you. We’ve been especially impressed by the work of Tessa Houghton, who stunned us with her ethereal, limitless horizons.

You can find all of her work currently on sale via the Tessa Houghton Profile Page.

Here’s a preview of Tessa’s outstanding work…

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Above: Tessa Houghton – Elysian Blue
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Above: Tessa Houghton – Flux
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Above: Tessa Houghton – Low Light
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Above: Tessa Houghton – Pennine
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Above: Tessa Houghton – Remote
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Above: Tessa Houghton – Radiate
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Above: Tessa Houghton – Reflect