Here's our recent interview with artist Penny G, from New Milton...
Please describe your artwork style:
Realist and Fantasy.
What’s your background?
Self Taught.
How long have you been an artist?
All my life!
Who or what are your biggest influences?
Historical Artists: Pre-Raphaelite Brotherhood, Salvador Dali, Maxfield Parrish
Present day Artists: Brigid Marlin, Alex Grey, Pip McGarry, Roy Chaffin, Roger Dean.
How have you developed your career?
By accepting all sorts of commissions, and taking lessons from artists I admire.
Exhibiting and following the different markets, gives me great opportunities.
Brigid Marlin taught me the Mische Technique which has helped me create Fantasy Art.
Roy Chaffin and Pip McGarry taught me how to paint wildlife, especially fur, so I can produce realistic portraits of pets and wildlife.
Having created the images in oils, I then have them made into products, such as table mats, coasters, mugs, and other household items which I can now provide through my website and in local shops.
Which current art world trends are you following?
Visionary, Spiritual, Esoteric: researching the Mystical and Magical world of Fantastic Art and it’s origins.
Where do you create your work?
In my home studio.
What do you feel is the role of the artist in society?
I realised a while ago art awakens the soul, it provides a bridge between the material world, creativity and spirituality.
What techniques / mediums do you use?
Oil on board, the Mische Technique.
10. Which is more important to you, the subject of your painting, or the way it is executed?
Both are equally important, the Mische Technique allows me to capture the ‘character’ or essence of the subject by using light and dark tones.
How do you feel when you are letting your emotions loose on the canvas?
Often when I let my emotions loose, the painting paints itself! I become engrossed in the process, and enjoy every moment until the painting is complete.
What project are you working on now?
A set of Egyptian Oracle Cards, and a painting for the charity, ‘Yes to Life’. The painting is approx. 16 inch x 23 inch and illustrates the process of manifesting a 'happy thought'.
I have used the image of a patient going through cancer, but that doesn't define who they are, or what they wish for.
Initially, getting honest about how low-level thoughts, energy, and feelings of disbelief block what you truly desire. Once you get clear about the blocks, you can begin to clean them up to clear space for positive manifestations to occur. The 'Happy thought' becomes the 'Flower of Life' and if you hold that thought and nurture it long enough, it grows into the Phoenix, to be released and eventually reach Enlightenment.
Any current or up-coming exhibitions?
Yes:
Surrealism Now is an ongoing exhibition, promoting work of artists all over the World. It is currently being shown in POROSMuseum, Coimbra, Portugal. https://cynthiatom.com/event/94610/2018-international-surrealism-now
I just completed an exhibition at the Worshipful Company of Bakers in London with Brigid Marlin, and last year exhibited in New York with the Society for the Art of Imagination.
So far this year, I have an exhibition in the Arts Centre, The Meeting House, East Street, Ilminster, Somerset with two artist friends of mine, David and Deborah Robinson.
That exhibition will be called Miscellany Three, Mon 30 July – Sat 25 August.
Where do you find your ideas for your work?
All over the place, it depends on what commissions I am offered, or exhibitions I am invited into, I enjoy working on a variety of projects because it opens up great opportunities for me.
My Visionary work is something I love doing because it involves researching the Mystical, Magical world of the Mystery Schools, delving into Egyptian nythology, Paganism and Theology. Other influences come from Authors such as Graham Hancock, John Anthony West, and Scientists Dan Winter http://www.fractalfield.com and Nassim Harramein.
Is there an artwork you are most proud of? Why?
Everyone loves Oscar, my cat portrait, because they say it looks like a photograph. He is a very endearing character, looking directly into the eyes of the viewer imbuing the painting with what I call the ‘Ahh! factor.
How do you know when a work is finished?
Composition and underpainting are the key. As long as the composition and underpainting are visible at all times, thin layers of transluscent oil paint can be added in succession. An accurate, finished painting can be created in a very short space of time with very little room for error. That is the beauty of the Mische Technique.
What is your most important artist tool? Is there something you can’t live without in your studio?
A Rigger paint brush, and black and white paint!
Is there an element of art you enjoy working with most? Why?
The most enjoyable element of painting for me, is when I am applying the three coloured layers of paint to my board.
At the moment I add the third layer, which is blue, a sort of alchemy occurs and all the other colours of the rainbow suddenly appear. Truly magical.
