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Have you always been artistic?

Yes. I've always loved to make and doodle since very young. When I look back at my childhood memories they are all intertwined with art-related experiences. At primary school sticking, glueing and glittering whilst making Christmas paper lanterns and toilet roll snowman. In Mrs Hickenbottom's class, aged 9yrs, making paper mache air balloons.

I think the first time I can remember feeling like I could be good at something was when I drew a portrait of the Scottish explorer David Livingston and the whole class wanted me to draw theirs for them as they thought it was so good. Art has always been there in some form or another.

How did you start your journey in paint?

I started painting about six years ago. By then I had been a digital artist for about 25 years, and just had enough of being tied to a computer screen all day. I tried to go freehand several times, it kept calling, but I would get really anxious about it and stop. The push came when I'd been ill for a long time and needed something positive in my life to distract me from the pain I was living with. By chance, I saw the 100-day project on Instagram and just started. When I look back I was creating absolute rubbish, but it got me creating again and committing to artmaking every day. My painting carried on from there and I have become obsessed!

Describe your work in three words?

Bright, bold and playful.

What is it about the medium of paint that attracts you?

I love the freedom of painting, the brush being an extension of my arms. I often use my fingers too. Hands are very expressive and a sweep of the hand creates gentle brushstrokes or can be fast and energetic. Little dots with my fingertips can be quick and intense or light and random. It's like dancing with paint over the paper surface, and I love dancing.

The intensity of colour that can be achieved draws me, especially the endless variety of shades and new colour palettes to try out. It's hugely flexible and experimental. You can quickly try an idea out and if it doesn't work try something else or cut it up into collage. The possibilities are endless.

How do most of your pieces come to life? Is there a certain routine you pursue from the original idea or does it flow organically?

Most pieces are born on the page and flow organically. I don't usually plan out what I am going to make beforehand and I work quickly so I can switch off my analytical overthinking mind, letting the process be more instinctual and embodied.

I usually lay dark colours down first and then build up gradually with lighter tones. All the time responding to what's been laid down before and creating harmony between the different elements. I am always pushing myself to get better, be freer, be bolder. Each painting is building on the previous one to improve my skill.

Do you ever get the equivalent of writer’s block? If so, how do you push through it?

All the time! I am better at recognising it now and I’m kinder to myself when it happens. It’s usually when I've had a break from painting or unsure what to work on it will surface. If that's the case I will find old paintings that I'm not satisfied with and re-work them until my confidence returns. Or, I will work on small bits of paper doing fast sketches to loosen up again. I can't paint if I'm tense, the more relaxed I am the more free-flowing my creativity gets.

Your work is very bright. Has this always been the case or did it happen organically?

I would say colour has always been dominant throughout my creative career. In all the different artforms I have worked in I have embraced bright colours. It's automatic. I do love monochrome though and would like to create some pieces in black and white… one day!

Where do you draw most of your inspiration from?

Usually, it's from previous work I've created. Once I stopped looking at other artists for inspiration my confidence and artistic style grew. Sometimes it can be from nature, especially the season of Spring where I try to recapture the feeling of new beginnings, growth and optimism. I also adore Japanese aesthetic. I really admire their craftsmanship and the beauty in their work is very exquisite which I try to emulate, but not sure I ever will.

What is the most challenging thing about being creative?

I would say it is freeing myself from societies stereotypes of what an artist is and isn't. For example; you can't make a living at art, your airy-fairy, you need to get a proper job, it's not real work, you need to grow up. Sometimes I feel guilty doing something that I love as there are so many people who are dissatisfied with their work. If I'm not careful these beliefs can become my own automatic thinking and create self-doubt.

How long have you had your studio? What do you love about it?

I've had this studio since October 2020. This is my fourth studio in my career and I am particularly happy in this one. It's solely mine and has a wonderfully peaceful feel. No matter how manic things maybe when I enter I can feel the weight lifting from my shoulders and I want to get down to painting straight away. I love the square proportions and having one wall of glass lets the natural light flood the whole space.

It's in a beautiful location in a historical village in the heart of England. It looks out onto a small courtyard with other independent businesses, giving me a sense of space, and there is always someone wandering around to talk to.