Artist: John D. Wilson
Title: A View with a Room
Size: 17" x 27.75"
Edition: Artist Hand Signed and Numbered Limited Edition to 195
Medium: Canvas Board
About the Art: History & Background

My first recollection of having an interest in art was at the age of 10 when I entered into a school Easter Card Competition and won first prize. This inspired me to carry on drawing, particularly incorporating my main interest at that time of aircraft and cars. Things changed when I was 12 for Christmas I was given a set of oil paints and an easel (the easel I still use today 40 years later!). Painting in oil opened up a whole new world of colour and texture, as well as filling the house with the wonderful scent of linseed and turpentine.

I then enrolled in painting classes on a Saturday morning at the Harrogate School of Art , which I attended for about 2 years. I then took my art interest even further and attended a part time evening course where I was introduced to figure painting and also pop art. My high point at that time was a pop art self-portrait, which was displayed as part of an exhibition in the Harrogate Art Gallery.

Due to the need to earn a living, painting unfortunately had to take a back seat for the next few years. I married and had 3 beautiful daughters whilst running my own small business for 25 years. For my own pleasure however, I did manage to continue to paint in my spare time.

It therefore wasn t until the mid 1990 s that I actually went back to art more seriously and started exhibiting in the local galleries. I now have various galleries in the area requesting my work and I ve had several successful exhibitions. Painting now takes up most of my time - I go to bed thinking of my latest painting and wake up with ideas for the next.

Ideas and Inspirations

Finding a subject or idea for a painting can be a daunting task, and can often come from the most unlikely source. I remember once going to a Hockney exhibition, where a striking painting at the opposite end of the gallery caught my eye. I saw this painting as depicting a flight of stairs following up to some marble arches, through which I saw the sun sitting in a bright blue sky. As I got closer to the painting it became clear that it was actually nothing like that at all. It was in fact a wooden table standing on a veranda overlooking the sea. This later inspired me to paint the picture I first thought I d seen.

When my youngest daughter, Stephanie was four years old she brought home a wax crayon picture of herself from playschool. As soon as she showed it to me I was fascinated by the way it had been drawn and by the colours used. I then began to look at other children s drawings and found one main similarity between them all the fact that nearly all children draw people full frontal; with either stick or fat arms and legs; and yet they nearly always draw animals in profile. I found it really interesting the way children tend to perceive and interpret things within their everyday lives, often in the same way. Although Picasso once said that when he was a child he could paint like an adult, and he spent all his adult life trying to paint like a child. This led me to thinking that some of the old masters - Monet, Van Gogh, Renoir, Da Vinci - would have probably drawn people in exactly the same way when they were about four years old. This subsequently gave me the idea of mixing children s art, with no inhibitions, together with the carefully planned paintings of the adult artist. This style of painting has proved very successful for me and the more children s art I study, the more I will be able to continue to find various ways of developing and combining the adult approach to painting with that of a child s.

Over the last couple of years I have never actually been stuck for subject matter in fact I ve always tended to have plenty of ideas for my next few paintings already in my mind. And I still find that there is always a real sense of accomplishment on completing a painting, together with the excitement of beginning the next. From Palette to Picture

Out of the ashes rose the Phoenix&& My palette is a mess, my paint box is a mess, I somehow end up splashing paint over everything including myself, and yet a clean, sharp picture emerges out of it all! That s probably one of the reasons I enjoy painting so much - the fact that out of all this chaos, there s really a hidden sense of order within it all.

A few years ago I worked exclusively in watercolour, but when one of the paintings I was working on required a stronger colour, I was forced to experiment with a less familiar type of paint. So I bought a tube of gouache, and the rest, as they say, is history! That one tube resulted in a change in the whole way I painted - to the point that 90% of what I now do is in gouache.

I usually start with a very small rough sketch, which I then enlarge onto my full size heavy watercolour paper. I do very little pencil work here, just enough to mark out the perspective. I prefer to work freehand with the paint straight onto the paper and see what emerges.

When doing a painting that incorporates children s art, I use wax crayon, and although I m right handed, to get the desired effect I tend to use my left hand. A painting can take me anywhere from one afternoon, to 4 days to complete, depending upon the amount of detail. And these can often be pretty long days! But once I m immersed within my painting, I don t tend to realise what the time is! At various stages throughout a picture, however, I need to stop and take a step back from it, just to make sure that it is developing as I had envisaged. On the satisfactory completion of a painting I will give it a title and then finally photograph it for my own records.

A day in the life of John D Wilson.

How many people wake up on a dreary Monday morning feeling excited about going to work? And how many people enjoy what they do so much that they often don t even take the weekend off?! Well, I think I must just be one of the lucky ones. I always seem to find myself looking forward to either getting back to a painting I m already working on, or starting on the next and sorting through all the ideas going on in my head.

For me a typical day starts around 6:30am, when I get up and organised and see the rest of the family off for the day. I am then relatively undisturbed and usually begin painting at around 9am. I work in my studio, which is actually a conservatory at the back of the house. And when it s windy and raining outside, I certainly feel very relieved that I don t have to go out in it to get to my place of work. Usually if I m in the middle of a picture, I can just sit down at my easel and get straight on with it, but if I m starting a new painting I need to think about it and do some rough sketches. I work in short sessions, probably 2 hours at a time with short breaks in between, so I can evaluate the work I ve done so far.

When I m painting I like to have a cup of tea next to me all the time, although I usually end up drinking it cold as I get so absorbed in what I m doing.

I try to put a little humour into my paintings and I know when I ve succeeded when my family come home and it puts a smile on their faces. They are my greatest critics, so in the evening we like to view my days work and relax with a glass of wine.