Q&A with Clare Maria Wood
Clare Maria Wood’s abstract nature paintings were introduced to KMArts in July 2018, for her exhibition “Dreaming in Colour”. The vibrant addition of her paintings has captured the imagination of those who have visited the gallery.
I wanted to find out more about Clare, her creative processes and life as an artist
Tell us about your journey to becoming a full-time artist?
I studied Fine Art Painting at Wimbledon School of Art in the late 1980s and went on post-graduate studies at Goldsmiths. I had a successful career as a Head of Art for many years, before deciding to focus full-time on my artwork. More recently, I completed the Curwen Printmaking Diploma, where I focused on creating painterly monoprints. I was assessed by Stanley Jones MBE and Chloe Cheese - which was a bit daunting but, actually, they were utterly charming. I now have a lovely studio by the sea in Hove where I paint and print.
Describe your favourite part of the day and why?
Sunrise and sunset where the light is glowing.
Describe a typical creative day?
Each day starts with an early morning dog walk, which awakens that connection with my surroundings. What really excites me is the ephemeral nature of the land so early in the morning. Back in the studio, I work intuitively to begin with, usually on several pieces at the same time, which allows me to see what is working and expand on ideas. I build layers of paint, drawn marks and collage. I scrape back into the surface to reveal flashes of previous marks and colours, allowing the history of each piece to take centre stage. As paintings develop, I take a more critical approach, refining and resolving areas while striving to keep the energy of the initial marks. My day usually ends with another walk at sunset, which gives me food for thought for tomorrows developments.
How many days of the week do you paint?
I try to get into the studio five days a week. I treat being a self-employed artist as a 9 to 5 job, with a definite start and stop time.
Do you ever procrastinate when you are due to create? If so, how do you overcome this?
Sketching! Drawing out smaller ideas on paper is a great way to overcome a mental block. I love my concertina style sketchbooks, where one page leads straight into another. I also draw digitally using ProCreate on the iPad. I can take this out and about with me too and sketch directly from the land.
What place has inspired your work the most?
I love the coast. I was brought up near Whitby and have always been fascinated by the heightened weather in coastal towns. I lived for twenty years in Cambridge too and spent so much time walking in the woodland and fens. I think wherever I live, I am attracted to the light.
When I read about how you work, it feels almost like a dance. Can you describe the rhythm of how you work?
For me, it is all about balance. There will always be an area that demands to be looked at and take the lead, but other quiet places are just as important in their supporting role. I like the idea of differences in marks, tones and shapes. You can't have a painting where everything is shouting.
When do you know when a painting is finished?
I don't think there is ever a distinct endpoint. Still, it is essential to try to stop before you overwork a piece and keep the freshness of the initial marks.
What is your favourite tool to work with?
I can't resist an oversized brush when you need a 'sweep'.
Your works are described as mixed media, could you tell us more about the type of media you use in your pieces?
I primarily use acrylic paint and combine this with hand-painted tissue paper, gold and copper leaf, oil pastels and pen. I think I am influenced by my printmaking, as my collagraph plates are made using a variety of textures. I prefer to work on board rather than on canvas. I often use a sander to reveal previous marks and the board needs to be robust enough to withstand this.
Tell us when you first sold your piece of work and how that felt?
The first piece I ever sold was when I was a student. It was exhilarating, and I spent the money on really posh paint.
Tell us about the proudest moment in your artistic career?
It was probably being offered my first ever solo show, which really makes you feel authenticated as an artist. For me, this was just after leaving art college. The venue was a lovely Covent Garden gallery. I was so nervous on the PV night, but it was a fantastic opportunity.
You have recently moved to Sussex from Cambridge. Have you noticed a change in your works?
I have always been inspired by the coast. But, since moving to Hove and walking by the beach a couple of times a day, I am amazed by the changing nature of the land, sea and sky. To be at the edge of these elements and feel how they 'talk to each other' has definitely impacted my newest work.
We asked if any of you had any questions to ask Clare. Kate askes- I'm always interested in how clear a painting is in the eye of the artist before they start the work. So, does she know pretty much what it will look like, or does it evolve during painting?
I rarely have a clear idea of what I am going to paint. I work on around six pieces at the same time and have a feeling about what they might be. Still, I like to allow the process of making to become as important as the idea of an image. I am always open to change and will edit out areas that do not work. As an old tutor once said to me, 'if it doesn't work, then get rid of it'. This seemed harsh, but it works. I do not want to create a copy of a place, but instead, I want the viewer to experience the feeling of a place.