This week on Spotlight, we are joined by German-born photographer Tobias Titz, discussing working full time as a professional photographer, as well as his incredible new exhibition ‘Marnti Warajanga’, on display in Canberra, the capital city of Australia..

The Exhibition: In Marnti Warajanga you will meet Indigenous Australians from the Pilbara region of northern Western Australia, and non-Indigenous people who have worked closely with their communities. In their own words they bear witness to momentous historical movements and reflect on their ongoing work for social and political change at a community and national level.

In Tobias Titz’s unique collaborative portraiture process, each person is photographed with a large format camera using Polaroid Type 665 film. He then photographs the same space without the person in it. Following this, the subjects write something of their choice into the wet ‘empty’ negative. The texts relate to questions about major events such as the Pilbara Strike of 1946, the 1967 Referendum and the 2008 Apology to the Stolen Generations.
Tobias says that providing a place where often long-buried stories can be told “allows us to understand where we come from and how to move forward”.

Toby, thanks for joining us on Spotlight. Tell us a little bit about yourself and how you came to be a photographer living and working in Melbourne Australia…

I grew up in Germany and studied photography in Munich where I was living and working as a freelance photographer. In 2000 I met my wife who is Australian – that’s how I came to Melbourne.

What kind of photography do you find yourself mainly involved in? (Client base etc)

I work as a commercial photographer but I also make sure to put some time towards my personal projects. One of these personal projects resulted in “Marnti Warajanga – we are travelling”, which is currently exhibited at the Museum of Australian Democracy in old Parliament house in Canberra, Australia’s capital city.

For those thinking about turning a passion for photography into a career, could you give any advice?

I think it’s important to keep it fresh – find interesting topics do personal work never stop observing – there are so many interesting stories out there.

Your latest exhibition Marnti Warajanga–we’re travelling is a collaboration between the Museum of Australian Democracy, Wangka Maya Pilbara Aboriginal Language Centre and yourself. Could you tell us how this project came to be?

It all started in 2007 I got in contact with  wangka maya the Pilbara aboriginal language centre and we decided to do a project about the 40th anniversary of the 1967 referendum. From there it developed over the years and resulted in the “Marnti Warajanga” exhibition which will tour Australia for 5 years.

The technical process you decided on was very interesting for this unique collaborative project. Could you tell us about it?

Usually the subject in a portrait has no possibility to interact with the photo.  The subject can relate to the photographer as the shoot progresses, but once the shutter has fired, that’s it.  I thought I would give them the opportunity to comment or contribute to the image itself, that I had just shot.  Normally a portrait is just a single image, but I thought I would extend the process by giving the subject the chance to have a direct input to the finished piece. When you ask people to have an input – to leave a mark, it gives them an active role not a passive role.

I take 2 photos the first one is the portrait photo the second one is a photo of the background the subject scratches their comment in the second empty negative.
I use a large format camera and Polaroid 665 film.

How did you grow developmentally as an artist during this time?

That’s hard to say… what I can say though is that going to these remote communities and meeting these people is a very enriching experience.

Thank you for joining us on Spotlight Toby. Where can people find out more about your work?

You can visit the exhibition in the museum of Australian Democracy in Old Parliament House in Canberra till February 2011. Otherwise visit www.moadoph.gov.au and check out my website www.tobiastitz.de.

1) When did you first realise that you were meant to be a painter? Can
you tell us a little about the road to that decision?
It’s always been in my mind that I wanted to be a painter, previous jobs were chef and before that assistant photographer, I always had jobs that involved some sort of creativity, I finally took the plunge after moving to Dorset, I started to experiment with different subjects and mediums and finding that my work started to sell immediately was wonderful it helped give me the confidence to continue, I spent the next few years working hard learning with each completed painting and developing my working practices and style.

2) A lot of your work highlights the brilliant interplay that light and shadow can produce. Why does light inspire you?
I’m fascinated with the effect that light has on the landscape, particularly near the coast, every minute the light can change effecting the colours and mood, just before a storm the clouds break for a brief moment creating a cascade of light over the sea, or very early in the morning you get a fresh clear light, when it’s misty I go along to Mudeford quay where the boats with their reflections are just barely visible in the grey/ blue light, light varies so much from place to place, this profession gives you a great excuse to travel and take in the atmosphere and mood of a place.

3) Why did you choose your current location as a base, and what does it
offer to the working artist?
I live in the beautiful area of Dorset near the river, sea and New Forest, it has had a profound effect on my art and the subject matter that I am best known for, if I reach a dead end with a painting I can go for a walk by the sea with our dogs, clear the head and come back to my studio with the solutions on how to finish.

4) How do you think success can be defined artistically?
I get a feeling of success when I look back at previous work and can see that I’m improving and developing as an artist, you never stop learning, I’m my own worst critic, It’s a great feeling to be able to capture onto canvas the essence of a scene the way you see it in your minds eye, you put yourself into the work so when you get good feedback from buyers or other artists it’s so rewarding

5) Tell us about ‘Red Sky’… What steps did you take to so adeptly capture this scene?
Thank you, I wanted to capture this sunset reflected on the water in an Impressionistic way without detailing the river too much, to focus the viewers attention on the strong colour which helps to create the mood and atmosphere of a summers evening, I used some photos of rivers from my collection I only needed to get the basic shapes of the sky and river, I started by using a canvas that had previously been washed with an orange/red colour, then blocking in the main shapes and colours leaving each layer of paint to dry before adding the detail and finishing with several glazes of crimson and reds

6) How would you describe your following in your home town? Could you tell us what a typical buyer might be like? (For example, have they heard of your work prior to visiting your gallery?)
I’m getting known locally for my seascapes inspired by local scenes, I get a lot of repeat buyers and referrals from buyers around the world, many say they’ve seen work in exhibitions and have searched my name to find my website.

7) Has there ever been a difficult period for your through your painting
career? How did you get through it?
Not really everything has gone fairly smoothly (touch wood!) I’ve had a few of the usual rejection letters from exhibitions which is disappointing but it spurs you on to improve so that can’t be a bad thing..

How do you keep yourself motivated?
I’ve been lucky I’ve been doing commissions back to back for the past couple of years so I’m always doing something new which helps to keep me motivated and moving forward, I get asked to do a wide variety of subjects which are interesting and challenging. I also travel – new places always motivate me, changing subject or medium keeps my work fresh, you start on a different track and it fuels your creativity which leads to more ideas, it seems the more you experiment and enjoy it the more ideas develop and evolve.

We would like to thank Stella for her thoughtful and inspiring answers. I’m sure all of our artists will feel great appreciation for her ideas on staying motivated and working logically through what to any artists is a very emotional process. We wish you the best of luck Stella for your work in 2008!

To keep up to date on Stella’s latest creations, please visit her website at:
www.stella-dunkley.co.uk

In this edition of Spotlight, we’re joined by U.K-based landscape artist Celia de Serra. Formerly an abstract artist, it is now the incredible realism and masterful depictions of light, shadow and colour that is attracting the most attention in her home area of West Dorset, England. We talked with Celia about how much of this magnificent talent came naturally to her, and what she thinks is essential in to the art-life balance.

Thankyou very much for agreeing to join us here on Spotlight, Celia. It’s great to have you. Could you first start by telling us, how much of your amazing technical ability is natural talent, and how much did you learn in formal training?

Thanks for your generous comments. I’ve been fortunate in that I seemed capable of drawing and painting from a fairly an early age, quite some time before I had any formal training. Most of my skills since then I have built up over years of hard work, practice and, crucially, time. I was also formally trained at art college, but it was a fairly laissez-faire environment. The training was important, though, in providing a stimulating arena for critical analysis and painting practice; and it was a good time and place to meet like-minded people over a few beers and some loud music.

2) What is your process for preparing a piece, and how long does it usually take to execute from beginning to end?

I start a piece of work by spending a lot of time outdoors, being quite immersed in where I am, looking for ideas and interesting light. I like to spend a lot of time just pondering and looking, particularly when I am on my mountain bike off-roading where you can get to some amazing places perfect for just this. I use a couple of digital cameras and sketchbooks to gather ideas and spend yet more time at home printing photos, drawing and thinking some more. Eventually I’ll start painting, sketching out forms and shapes in thin washes and building these up over time. Parts of my paintings are more gestural and immediate, it depends. It can take many weeks, sometimes months, to complete a single painting, although it does vary. Often, as probably other artists will attest, deciding when a painting is finished can be quite difficult and you can find yourself coming back to a piece of work at a much later date and reworking it.

3) You do work on commission. How do people find out about your work?

I do some commissions although most of my work is uncommissioned and sold or shown privately or in exhibitions. My website is a good way to find out about my work, especially for news and forthcoming exhibitions. Otherwise I can be contacted at home where my studio is, although currently I am in the process of relocating. I also work with galleries and dealers from time to time. I also have a series of commissioned works on permanent public display at the Yeovil District HospitalU’s Pharmacy and this came about by a previous temporary show at Dorset County Hospital.

4) You seem to be a bit of a master of natural light. Were there any artists in particular that inspired you / influenced your style?

Thank you. The painters that I have come across who seem to be able to capture light include, I suppose:- Bonnard, Rembrant, Bonnington, Ivan Aivazovsky etc. Generally I like allsorts of painters, perhaps some are influences, but I think it is less definitive than that. I enjoy the work of painters such as Gerhard Richter, David Reed, Maggie Hambling, Francis Bacon, Joan Mitchell, Hughie O’Donaghue, Paul Nash, Brice Marden, Robert Motherwell and many, many more – a fairly eclectic mix.

5) What subject matter would you like to dabble in in the future, if your direction changes?

I used to be an abstract painter, in fact this basis has helped me with my grasp of landscape painting. In the future I might like to dabble in other types of landscapes, perhaps to conceptualise the work more, maybe with an industrial or social bent. I have got lots of ideas, and probably not enough time, the usual problem.

6) Have you ever found it difficult or isolating working in a field where essentially you produce something by yourself?

Yes, painting can be an isolating activity. You have to be quite self critical and motivated, and it’s easy sometimes to be over critical. For example, I have had difficult times in the past, particularly when I have felt I was going round and round in circles with the work, scrubbing out more than I was producing. I worked through these difficulties, quite literally, and feedback from other people, particularly my painter husband, became very useful. I also think putting on an exhibition, however humble, is a great confidence boost and it gives you a good overview and context to your work – very helpful.

7) What kinds of advice would you give to someone with a good deal of talent and not a great deal of concentration? Is getting down to work something you have ever had trouble with?

When it comes to painting I am focused and single minded, but primarily I enjoy what I do and if I am not painting for prolonged periods I tend to become miserable. Even so there are times when it is more difficult to get down to work than others, it really depends. A solution might be:- try to relax (I have heard that some artists use meditation, whatever works really) – begin to work quite freely, play about a bit with the paint and see what happens. Or, if the painting is at that tricky stage, spend a good amount of time looking and thinking before even reaching for the paint brush. Put some music on perhaps, shut the door, make sure you have everything you need in front of you so that nothing niggles or is a distraction. You then have to give yourself time to become immersed in what you are doing, it doesn’t always happen straight away. As painting is a discipline I think focus becomes easier with practice, so keep on working; it does pay off, and the painting will start to take on a life of its own and create is own energy.

How do other things in your life help your work? (I.e. time with friends, family, a great dinner, travelling, the morning sunshine). Have you found anything that hinders your art work, and what do you do to get back in the zone?

Mountain biking probably helps my work the most, giving me head space, ideas and mental refreshment. I particularly enjoy travelling to mountainous or remote areas of the countryside, and walking or cycling with friends or family. Good music definitely helps with my painting, accompanied by the odd glass of Rioja, and good food. I would say that the normal stuff of life does get in the way of painting (cleaning, cooking, paperwork, etc.) but this can be constructive, not only to make you a more rounded and less boring person, but also to focus the mind back onto painting; in any event, this is how I like to see my part time jobs over the years. I think the biggest hindrance to painting for me tends to be emotional upset. Last year our family suffered a significant trauma and I was unable to concentrate on painting for 2-3 months, and this is pretty rare for me. Eventually things sorted themselves out in my personal life and I was able to return to the studio. At the moment I am in the middle of moving home and relocating, which although very stressful, hasn’t stopped me from working – in fact painting can be quite a cathartic activity in itself.

9) What kinds of reactions did you have to your work in 2007?

I had a lot of positive responses to my work last year. I was invited to participate in an exhibition in Salisbury and was very pleased that the work sold out and was followed by further enquiries and an offer of another exhibition later in the year. Obviously sales are important but the feedback was much appreciated; people typically commenting on the light, sky, sense of distance and place etc.. It is always very nice to hear and much appreciated. The website has been very useful, particularly webstats, and just being able to be in contact with clients or interested people.

10) What do you think you’d be if you weren’t an artist?

Well, in a fantasy world, I’d like to be any number of things such as an active participant in music, film or TV, a biologist (maybe an environmental/political activist), maybe a chef or a food critic, or a writer, or, if I were a adolescent male, a pro-downhill mountain biker. In the real world, however, I stupidly didn’t have any contingency plans for if the painting didn’t work out. Years ago I did study English Literature alongside the painting at university, but it was quite miraculous that I passed as I spent most of my time in the studio, ignoring essay demands.

We thank you Celia for your interesting and insightful answers to our questions.

To see more of Celia’s incredible work, please head to her homepage at: www.celiadeserra.com

Belinda Simmon’s career as an artist started very differently to the way most painters or illustrators begin on the road to becoming an artist. After leaving her home country and moving to Australia to study English literature, she became an engaged supporter of some of the strong arts movements that were happening in her University town of Newcastle, and the very artistically active areas of Redfern and Paddington in Sydney. ‘This was a time when the energy and growth in the air was palpable’ she recalls of the time. ‘I had never studied art formally, and was always envious of people who could create these incredible works’.

It was not until she was cajoled into picking up some pastels and asked to join in that she had her first experience as the creator, instead of the observer. ‘I had always been on the side encouraging the artists, all the while feeling that I was not good enough to join in on their activities’. Through the very special friendships that were formed in those early years, Belinda began her artistic journey, one that would also have some tragic moments which she says changed not only her perception of life on earth, but reiterated the important role art plays as intermediary and peacemaker in an increasingly isolated world.

1) Thank you for joining us today Belinda. Could you start by telling us about the road to becoming an artist. Did you always know you were headed down this path?

As a matter of fact, no I didn’t know that I was heading into art at all at first. I had a great deal of friends involved in painting, drawing, and sculpture, but I was a literature student at the time, and played the role of the onlooker. Then, one night everything changed. Some friends took me by the arm as you would a frightened child, gave me some colored pencils to work with, and it all began from there. I found a lot of freedom in beginning to sketch. I felt my mental block begin to subside. These people I had admired for so long were no longer ‘above me’, and I was one of them.

2) You have chosen pastels as your main medium of choice. Could you tell us about that decision?

I use both dry and oil pastels in many shades. This medium allows me a great deal of self correction, and when working with them, I feel the same sense of exuberance a teenage girl does with a palette of eye shadow! Prior to starting a piece, I go out and deliberately select just four colors to work with. This is usually sufficient in giving me what I need to begin working. I may add more colors in time.

3) Your work has a playful innocence about it. Tell us about the reaction to some of your pieces in Japan compared to exhibitions in Australia.

That’s an interesting question you pose there. Although I don’t claim to be technically brilliant at art, I do seem to have a natural knack for using themes which are very emotionally charged, such as reproduction, homosexuality, discrimination, and genetic engineering, and representing them in a playful manner. In Japan, the reception of my pieces has been utterly astounding. In Sydney, I would at times feel that people were coming along to my exhibitions for the free wine and to meet other people which is also brilliant, but in Japan, there is a different kind of connection being made with my work. I have always felt that the Japanese are very deeply connected to nature and the four seasons. In this respect, the colors I use have created some impressive reactions from people who spend their daily life in a fairly monochrome city world. I recently exhibited my work ‘The Last Big Gay Dinosaur’, (which is fairly self-descriptive) and the reactions people had were as I say, really astounding. I mean people came from far and wide to my show, and they were looking at the work for a long time, and laughing very very deeply. It made me realize that I want my work to be not unlike a small garden in the middle of the urban jungle. For such a simple picture to have had such a big effect, and to have given so much enjoyment, it was really very touching…

4) Could you tell us about the piece ‘Love Story’.
Love story is a piece with two characters. One girl monster is sleeping on the left, and the boy monster is on the right. Children absolutely adore this piece.

5) What kinds of themes inspire your work?

Well definite themes do recur in my work, and of these, the future, and nature are always important to me. But I am influenced by many things the world around me, from reading science fiction literature, or writing it (which I do), to just having a good day. Any of these things can bring the surge of creativity needed to bring out a really great piece of art.

6)How do you deal with artistic slumps? I.e. do you ever have any breaks from creativity?

I believe that artists are like the seasons, and you will suffer artistic frustrations. It is a natural stage in the creative process, and like nature in Winter, you will need to retract into yourself for a while to reform. But you can’t spend you whole life worrying about it. I have in the past questioned my skills and my identity, and felt the feeling of loss. But essentially, loss is a time of change, and that is important to realize when you are a creative person.

7) Finally, have you had anyone along the way that has been of significant support to you?

As an artist, I don’t think that you can rely on anyone else really for support. Support is something that comes from within, and encouragement from the inside. In my early days, three of the artists that I worked closely with died. I went through that time and couldn’t make friends easily for a long time afterward. But the thing is that at the time they were dying of AIDS, it actually had a deep impact on the way that we communicated with each other. When someone is dying, is the time that there is true honesty between people. It was a horrible time, but I lived through it. These days, the fact that I am painting means that I am alive. So my support comes from within.

Okay, lucky lucky last question Belinda.. What do you think you are meant to offer to the world of art?

I think essentially what I’m offering is an open zone, a place where people can communicate, focus, and enjoy. I’ve really enjoyed just bringing people together and delighting in seeing others benefit from the color and story of my work. I see my paintings as a garden in the middle of a largely grey cityscape. People come and take what they like from my work, and of course I take a little bit of credit for their pleasure…

We thank you Belinda for your interesting and insightful answers to our questions.

Belinda’s artwork is sold at P.O.A, and welcomes comments and questions regarding her work. For more information on Belinda Simmons, please contact admin@theartistsweb.co.uk for an updated exhibition schedule. (Exhibitions at present are in Tokyo only)

Finding Art Courses

For the artist who may have just rekindled their love of for art and is turning hobby to profession, or the professional artist looking to hone their craft in a particular area, finding art courses to suit you remains no easy task. The Artists Web is constantly looking for quality schools which our artists recommend from experience, but here, we’d like to instead focus on critical areas to research and feel comfortable with before making the (often expensive and most often lengthy) commitment.Main criteria to look for when deciding on which course to choose are:

• Price and location.
• Effective teacher/student relationship,
• Your goals match the proposed goals of the course
• Continuation- Taking the skills home

Price and Location

We advise not simply looking at the fee structure of the course provided, but also to look into greater detail as to what the value added services are. Many more expensive course fees may make the budding artist balk, but it is important to investigate further; what does the school offer in the way of materials / training / open days / exhibitions? Remember that a more expensive school may provide materials and tools which are of a higher quality and standard, translating to your creation being a longer-lasting and more attractive artwork. With relation to exhibiting, schools with gallery affiliations or an attached space of their own are often a good way for the burgeoning artist to gain valuable exhibition experience.Location is also another crucial factor. Of course proximity to your home is important as it is highly likely that you may be transporting canvases back and forth from your class to your home. Much more than that however, is the class spaces itself. After all, this is the place where your creative thinking should be able to shine. Comfort, warmth, and an open space with plenty of light to work in can only be assured after visiting the site; something we highly recommend doing before joining an art class.

Effective teacher / student relationship

Like any other process of self discovery, taking art classes is an important and personal journey, within which students need to be encouraged and strengthened to achieve their goals. The relationship between teacher and student in the field of art is very different from another skill whereby there may be a correct or incorrect answer. In fact, no matter the level of skill, artists in training need to confirm that their learning style suits the teaching style of the instructor.Some students learn most effectively when classes consist of very little dialogue between teacher and student, and the majority of time being attributed to working on their piece. Other less experienced artists may find too much unstructured time irritating, preferring instead to receive detailed instructions on technical processes. To combat these variables being a problem later in the class, we advise meeting your instructor personally and discussing your own goals prior to commencing. One option as well is to ask to sit in on a class of your appropriate level. Pre-exposure to the instructor’s teaching style will help you to decide whether or not you will be able to get the most effective results under this person.

Your goals matching the proposed goals of the course

Having a realistic goal or target before taking your course is a necessary step to take before joining an art course. Ask yourself, why are you taking the course? Is it that you hope to enter a tertiary institution and require a more professional portfolio of work before your apply? Are you interested in learning to pain in greater detail subjects like animals, plants and people? Is this just a hobby that a friend suggested you pick up for relaxation? After you have decided on your own specific goals (and we recommend doing a brainstorming session to attain what physically you would also like to take home after the course) it’s time to compare these goals with those of the courses you have chosen.Also look for the materials you are required to buy for the course: if you are hoping to improve your realistic representations of figures, you may find fieldtrips to the park for a still-life watercolor session and ‘getting to know gauche’ a little on the frustrating side. If you have a particular area of interest, make sure to ask the instructor about how much attention will be given to that area. In addition, if there is a piece that you would like to create, make to enquire about the final piece. These questions will satisfy not only your curiosity but also justify the money you are about to outlay.Another important thing to remember when choosing your art course is to find that perfect dynamic between the ‘personality’ of the course and your own. As budding Tokyo-based artist Belinda 43, describes, sometimes the best option is to find a school where your involvement levels are not all-consuming. She came to this conclusion after recently joining a school which involved activities she was not comfortable with, including presenting at Spoken Word nights, students taking turns to be live models for figure classes, and making extravagant costumes to wear for the end-of-year exhibition. ‘I felt that the classes and tuition really suited me, but I could not really opt in or out of the additional activities with ease,’ she states. ‘I don’t really take too well to dressing up or undressing in public.’You may want to keep your art at a limited time per week, without letting it impinge on your personal or work time. Remember to be clear with the instructor about what your goals are, as communication and research is key.

Continuation – The Importance of Skills Transfer

The right art course for each artist should be one which incorporates mediums they feel stimulated and interested in and be one that gives the artist the opportunity to utilize tools that may not be as easy to use at home- some examples are etching, sculpture and photography. Courses which incorporate complex or messy materials are great to be involved in, but the important thing to remember is that skills attained should be transferable to other mediums which can be done at home. Make sure to ascertain you are learning a process which can be applied to other mediums (such as shading, detailed drawing, cross hatching etc.).Well that just about covers it team! Make sure that you research your art course well and go with your gut feeling as to what is going to work best for you.

May 1st – New Site Launch Date

On May 1st 2008, The Artists Web will be launching the new site displaying some great new features. The site you know and love will remain, but here’s a preview of three of the improvements you are sure to love:

• General redesign of site to enhance buyers’ experience (and make artwork sell better). The Artists Web has been slightly redesigned to include various new features including Comments on Artwork, Selling Prints with ease, and increasing traffic through our ‘favorites’ option being added.
• Interviews Now our ‘Spotlight’ section will not only feature in the Artists News Section, but also on the main site area
• Buyer Process Improvement The buying process will now be much more streamlined, adding ease and convenience to the buying process.

For more information, check out:
http://www.theartistsweb.co.uk/new_features_for_artists

The Artists Web in Tokyo – Design Festa

April’s Website of the month, is for the Tokyo Design Festa.
http://www.designfesta.com/index.html

The Tokyo Design Festa is a freestyle International Art Event open to all artists, both professional and non-professional from all over the world to exhibit their creative talent. Design Festa is the biggest art event in Asia, with approximately 53,000 visitors and 7,000 exhibitors. This art event is held twice a year at Tokyo Big Sight, the biggest event hall in Japan.As part of the upcoming Tokyo Launch of The Artist’s Web, THE ARTISTS WEB will be taking part in the 27th annual Design Festa Art Festival.a

TAW has decided to set up camp at Design Festa as we know it is the ideal place for us to showcase the work of our passionate artists who are looking for a great opportunity to show their artwork to a very large audience from all over the world. As well as the numerous art fans and music lovers who attend this event, Design Festa receives a high level of exposure from the media including the BBC, APTN, CBS, AFP, and Canal+, to name a few.As well as demonstrating the new japanese version of the website, we will be promoting members on the site to visiting buyers at Design Festa. We’ll be printing up and distributing 1000 postcards of selected members work, each with the members name and website. (Members chosen will of course be asked for their consent before hand.)Please make sure to check out the site and see where your artwork will be hitting the Japanese market soon!We’d like to leave you with this quote and wish you here’s to April being a fruitful and enjoyable month!

“The artist is nothing without the gift, but the gift is nothing without work.”

-Emile Zola

Thanks for reading and best regards,

The Artists Newsletter Team

Shirley Shelton exudes colour.

Looking at her strikingly unique work, it is not difficult to imagine that she was never one to sit back and allow adversity to floor the creative process (which she has now managed to turn into a successful career!). Like many artists, her experiences from as early as her childhood (influenced by many moves due to her father’s career) have helped to shape the depth and tone of her work, as art was an early release for a very trans-continental child.The experiences of travel and warm sunsets at dusk in her later years come through in the vivid shades and shadows of nature that she has mastered, and influence even the designs for new paintings, which Shirley has developed such a strong following for.

Attractive and carefree in nature, it has definitely been her strength of characther that has gotten Shirley to the position she is in now, where her art has become as easily recognisable as her bright and cheerful glow. Sitting in her Norfolk studio for this interview, we asked Shirley more about her opinions on modern artists, African inspiration and why she thinks the hard times in life will actually help to shape your success…

1) Thankyou for joining us at Spotlight, Shirley. Tell us first, what initially drew you to becoming an artist?

I’ve always been naturally creative. During my childhood we didn’t live in one place for any length of time because my father was in the Royal Air Force, this often left me feeling quite isolated with difficulties forming long term friendships so I would spend a lot of timepainting and drawing.

2) When did you know that it was meant to be your chosen career? And did you have any trouble grappling with the decision?
Art was my favourite subject at school and the only thing at which I really excelled, but I never seriously considered it as a career. I was employed in a variety of unfulfilling jobs until about ten years ago then I suffered a series of personal traumas and became quite ill with depression, having to give up my job I decided to spend more time painting and started to have increasing offers from people to buy my work, eventually as my confidence grew there was no question in my mind that I wanted to make it my full time occupation.

3) Your work definitely has a distinct flair. What inspires you most in your work?
Colour, atmosphere and mood. I absolutely love the drama of stormy skies and sunsets and I’m fascinated by the heat and colour of the African landscape, apart from that I like to store any interesting image I’ve seen in my head so that when I’m faced with a blank canvas my imagination and subconscious work together to come up with something interesting..

4) How do you think success can be defined artistically?
I think success is relative, artists we now consider to be successful often died in poverty and didn’t sell any paintings during their lifetime whereas certain well known artists of today have achieved fame and fortune for producing sensationalist rubbish and happened to be in the right place at the right time, success for me personally is simply that some people appreciate my work enough to want to buy it and display in their homes

5) Why did you choose your current location as a base?
I live and work in a picturesque part of rural Norfolk in the UK, I really appreciate the difference working in such a peaceful environment can make to my motivation, I originally started painting professionally in a fairly noisy and cramped flat in town whereas now the beautiful countryside constantly inspires me..

6) How do people react to your paintings, and what kinds of questions are you regularly asked about your work?
I think people are initially attracted by the warm and bright colours and quite surprised by the variety of subjects and techniques I use, I’m most often asked where my ideas come from.

7) Have you had any significant people help you get where you are now? If so, what role did they play in your success? (Ex: a supportive partner, a mentor etc)
I can honestly say I wouldn’t have achieved any level of success at anything I’ve done during the last decade if it hadn’t been for the care and support I’ve had from my husband.

How do you keep yourself motivated?
I’ve had a few people doubt me one way or another in the past so I think I’m largely motivated by a determination to prove myself, like many artists I do suffer from a lack ofself confidence and being a bit of a perfectionist I’m driven by a constant desire to improve.

We thank Shirley Shelton for her interesting and insightful answers and for sharing a little about the inspiration for her amazing work.To view more paintings from Ms. Shelton, we invite you to: www.sunsetcontemporaryart.co.uk.Congratulations Shirley, we wish you every lasting success.

In this edition of Spotlight, we are joined by Sheffield-based artist Mark H. Wilson.

Mark Wilson knows only too well the breathtaking and hypnotic power that light has had on many artists before him. Before Mark had even begun his schooling, he was exposed to some of the great masters, with the images of Cezanne, Gauguin, and Turner being strongly present in his recollections. Influenced by his art-teacher father and painter uncle, he began to understand early on how light does not just illuminate the scene – it is an active participant in the drama. Marks own unique methods of capturing the atmospheric effect of light, be it glistening over the forest floor at dawn, or beaming resplendently through dark clouds after a storm, are gaining him his own kind of notoriety. This journey so far has taught Mark that just like for his 18th-century predecessors, the road to becoming a professional artist is by no means an easy one. We caught up with Mark at his Sheffield winter studio:

1) Firstly, thank you for joining us Mark. So tell us, when did you first realise that you were meant to be an artist? What was the road like leading to that decision?

I guess that I was very young when I first realised that I wanted to be an artist. My father taught art and taught me the basics and our house had prints of paintings on the wall. The ones I particularly remember are “The Card Players” by Cezanne, “The Laughing Cavalier” by Hals, and works by Gauguin, Turner and Constable. My Uncle Frank was a talented painter and we had some of his original paintings on the wall, which I could look at for hours. I went to see a Van Gogh exhibition at the age of 5 or so and that has had an everlasting effect on me, so I was introduced to great art at a very early age.

2) A lot of your work highlights the brilliant interplay that colours in nature can produce. Why does light inspire you?

Light and colour are everything in my work. As Turner said; “the sun is God.” I am inspired by the constantly changing sky around where I live. I love storm skies with the sun trying to break through the clouds. I can look at what some people just call a grey sky and find so much colour in there, blue greys, pink greys combined with sunlight are what excites me. Blue skies are nice but a bit boring. I always try and watch the sunrise and sunsets over the city, my favourite times of day, as each one is so different and that’s where I get my colours.

I am inspired by the constantly changing sky around where I live… I can look at what some people just call a grey sky and find so much colour in there..

3) Why did you choose Sheffield as a base, and what does it offer to the
working artist?

I was born in Sheffield and have been back here for 10 years or so. I have found Sheffield has much to offer the working artist. Upon my return here I began by exhibiting in local church exhibitions, then in the Great Sheffield Art Show, the biggest art show in North England. I still show in this plus various Open Art Exhibitions, where I have won awards; an event called Art in the Botanical Gardens; also an open studio event (Open Up Sheffield), where you open your home over two weekends for the public to visit you. I keep my home as a permanent gallery, which attracts a steady stream of customers. There are also numerous art fairs in the region that I show at. So I would say there are numerous opportunities for artists at any level to get their work shown in and around Sheffield.

4) How do you think success can be defined artistically?

There are a number of factors that I would define as being a success artistically. Obviously it’s really rewarding when someone likes my work so much they want to buy it, and having to make a living through painting this needs to happen. It is also rewarding to receive awards for my paintings. Last year I won three awards, a commended at the South Yorkshire Open, a highly commended at the Rotherham Open and a Gold Award for my display at Art in the Botanical Gardens. It is also good to hear from young people and students asking me about my work for art projects and theses.

I find it satisfying to know that people want to know about me and my work. I also like to keep an eye on the stats on my website, knowing that my work is being seen all over the world. I do have my paintings in many private collections abroad including Japan, Australia and the USA. and that is a nice feeling. Overall though, I would say the best thing is making a living by doing what I want to do, difficult as it is at times.

I find it satisfying to know that people want to know about me and my work. I also like to keep an eye on the stats on my website, knowing that my work is being seen all over the world.

5) Tell us about ‘Bluebell Vista’. What steps did you take to so adeptly
capture this scene?

My ‘Bluebell Vista’ paintings are the latest in a series of woodland paintings that I began some ten years ago. My favourite times of the year for walking in the woods are autumn and when the bluebells are out. I just love the vibrant colour, especially in the morning and evening with the low lying sunlight sweeping through the trees casting long shadows and a shimmer through the leaves. I spend a long time waiting for just the moment I wish to capture and to do this I use my camera and also make quick pencil studies. I try to veer away from a traditional, twee depiction of a bluebell wood and attempt to create a more contemporary, painterly image creating depth, texture, and an impression of one particular moment in time.

I just love the vibrant colour, especially in the morning and evening with the low lying sunlight sweeping through the trees casting long shadows and a shimmer through the leaves.

6) How would you describe your following in Sheffield? Could you tell us
what a typical buyer might be like? (For example, have they heard of your
work prior to visiting your gallery?)

When I first started selling my work in Sheffield, I never really knew who was buying it. I have sold so many paintings over the years and have no idea where they all are, and I kind of liked the idea of that. Over the past couple of years however, since selling my work through my home/gallery, and art fairs etc., I do actually get to meet the people who buy my paintings and these range from students who can maybe just afford to buy a study to retired people who have taken up art as a hobby and interest. I would say that the majority of my customers are aged between 30 and 55, professional people looking for something original, something that no-one else has with a contemporary feel, people with an interest in art & design.

7) Has there ever been a difficult period for your through your art career? How did you get through it?

I have had many difficult periods. Sometimes it’s got me down, I’ve become despondent, wondering what the point to it all is and I’ll never be a Picasso and all that stuff. I’ve taken unrelated, part-time jobs over the years too, just to pay the bills. However, what has given me a focus and confidence in my art was meeting my wife eight years ago. She’s got belief in what I do and egged me on, changed my approach and my presentation, got me to be more business minded (a difficult task for a lot of artists), given me deadlines to work towards, talk to people, enthuse about myself, network, all that malarkey. All in all, a more professional approach. So far so good.

How do you keep yourself motivated?

The main thing that keeps me motivated is wanting to get better and better at painting. I want to move on all the time, learning from everything that I’ve done. I want every painting to contain a new discovery. I want to avoid repetition. I feel that I am developing but have far to go and much to learn and one day I may create the masterpiece I envisage in my imagination. I tell myself; ‘keep painting and the magic will come’, and my motto is: ‘If you don’t change your direction, you may end up where you were headed.’

Thankyou Mark for your engaging and personal insights into your work. We wish you every success with your work in 2008. You can visit Mark’s website at www.markhwilson.co.uk. We’ve found a quote which we think embodies the journey of every artist:

‘It is only when we are no longer fearful that we begin to create.’

Joseph Mallord William Turner (1775-1851)

This month on ‘Spotlight’ we are joined by Scotland-based artist Brian Petrie.

On any given morning, you will find Brian Petrie hard at work at his easel, elbow-deep in the luminescent sunset pinks, and deep velvety ocean greens he so adeptly uses to depict his local coastline and surrounding landscape. After lunch, Brian puts down his paintbrush and picks up his social commentator cap to work on his regular cartoon feature for The Scottish Sun newspaper. As he signs under a different name for his cartoons, fans of Brian’s oil paintings are often amazed at the discovery of this second, unique artistic talent. We spoke with Brian from his Westhaven studio, overlooking the waves on Scotland’s beautiful East Coast.

1) So Brian, could you tell us, what initially drew you to becoming an artist?

From a very early age I was never going to be anything else. Art books, drawing books and cartoons were my main interests, even before I knew you had to actually work for a living. Plus art was really the only subject I was interested in at school.

2) When did you know that it was meant to be your chosen career? And did you have any trouble grappling with the decision?

I never thought of actually earning a living from paintings, so after studying design and print at College I started work as a magazine designer with a large publisher. I then moved on to drawing cartoons for a number of publications and painting as a hobby to supplement my income. It did take me a few years to pluck up the courage to leave the safety of a large firm and start working for myself as an artist and cartoonist but I’m so glad I did.

3) What inspires you in your work?

I am constantly inspired by the coastline and countryside around where I live and work. Plus a huge chunk of my inspiration comes from visiting galleries and seeing howother artists paint and compose similar subjects to mine. A successful exhibition or a few good sales are also a good kick start if work is beginning to drag.

4) How do you think success can be defined artistically?

Success for me is people liking my work enough to want to buy it and hang it on their walls. Also and probably more importantly, is achieving what I set out capture in a painting. And not going to bed with an artistic problem rolling about in my brain. Which happens frequently!

5) Why did you choose your current location as a base?

My studio overlooks the waves at Westhaven on the East coast of Scotland and is so inspirational so it just had to be here. It’s an area I’ve lived and worked in for most of my life but I see it differently every day. Being a stones throw from the sea and only a thirty minute drive to the rolling hills of Angus it’s a good base for all things artistic.

6) How do people react to your paintings, as opposed to your regular cartoons?

I’m very fortunate that I get generally good feedback from the public to my paintings. I can also tell from my Artist’s Web pages which pieces are being viewed most often, which is a great help planning a direction as regards colours and subject matter for future work. As I use a different name for my cartoons, many customers of mine are surprised when they find out it’s me who’s responsible for the daily cartoon in the Scottish Sun. I don’t think the two paths interfere with each other.

7) Have you had any significant people help you to get to where you are now? If so, what role did they play in your success? (Ex: a supportive partner, a mentor etc)

My wife Paddy is my best support and critic and has a fair idea of what I’m aiming to produce. Often I get so blinkered with a piece I can’t see the wood for the trees and ultimately turn out a painting that just hasn’t worked and she can tell instantly. 99% ofthe time she’s right with her judgement.

Thankyou Brian for your interesting and insightful answers. We wish you every success with your work in 2008. You can visit Brian’s website here http://www.brianpetrie.co.uk/