So excited finally to share this! One of three ‘secret’ projects which I have been keeping under wraps since the end of last year when I was asked to lend paintings for a Zoffany photoshoot. I love these experiments – there is no payment involved but I get to see my work styled in an amazing setting.

OK, it’s playing second fiddle to a roll of (fantastic!) fabric but still feels good to see my paintings can hold their own against such exquisite design.

OK, so this one is a little more “need a magnifying glass”, but it’s still there! Personally I loved to see how all the elements have been pulled together. I’m a sucker for dark walls. My own home has deep smokey blue walls and almost anything looks great on it.

We may not all be so slick and beautifully styled at home in real life, but if this range inspires you to go a bit bolder that would be amazing! It feels brave, but makes such a harmonious space.

Want a little colour tip?

For stronger colours always go much less saturated to make a space feel sophisticated rather than in-your-face colourful. Choosing a greyed-down version rather than saturated colour will feel more elegant – we really don’t need much colour to ‘see’ it. And then you can have fun with accents, the walls are just the backdrop for your personal things (like paintings!).

Now on display at Gallery Top

I’ve spotted the photographs in a feature in the March edition of Living etc but chance co-incides and you can also see both paintings in real life as part of the current ‘Modern Works’ show at Gallery Top which runs 2-31 March 2019

“this an exhibition of contemporary paintings by a group of artists who have a diverse, though connected, approach to their work. There are five painters in the exhibition and their work has reference to many of the signifiers associated with the development of abstract art – fluid spirituality, geometry, hard-edged and gestural. What unites the exhibition is a passion for painting – for colour and form but also the physical process which the media offers to develop and mould their unique creative identities.”

There will be also be paintings from Andrew Bird, Val Hudson, Brian Neish and Ian Rayer-Smith

The gallery is open in Rowsley, Derbyshire on Tuesdays to Saturdays from 10.00 until 5.00 and on Sundays from 11.00 until 4.00 and you can also visit their website or call and speak with them directly if there is a painting you like.

You can always contact me directly if you have any enquiries about a painting you see, whether it’s to see more details or ask about shipping. In the meantime, if you see the paintings featured in a magazine or advert, do share it with me – tag me on Instagram @alicesheridanstudio.

Art fairs are a fabulous way to discover new artists and to buy exciting original art for your home, but they can also be overwhelming. I often see visitors wandering with a slightly glazed expression as there can be so much to look at.

So a few tips to make sure you have a great visit, especially if you are looking for art to bring back home…

1. Pick the right fair

Fairs where artists show directly to the public are a great opportunity to discover emerging artists who are prepared to invest in their career. If an artist has created a solid body of work, paid for space, invested in framing you can bet they are committed to their practice and growing their art career. You could discover a new talent!

Some fairs (such as Frieze or the Affordable Art Fair) allow only galleries: this gives you the benefit of a prior authority approving their work, however galleries vary according to taste and it does generally mean the prices will be significantly higher. They can be more visually daunting as 100 galleries each showing work from say 10 artists, means 1000 different styles! So it helps to be clear about what you are looking for.

2. Find advance tickets

Get free or reduced entry by joining the mailing list of the organisers or one of the galleries or artists involved. Printed tickets are not usually posted out as a matter of course so make sure to open your emails in the run up… and put the date in your diary as reminder to check!

3. Have an idea of how much you want to spend

Having an idea of how much you want to spend is helpful. Prices can vary hugely depending on how established the artist is, but there are many ways artists try to offer alternatives. You may be fixed on wanting a large original painting, but perhaps a drawing could have the same impact, or a reproduction print?

If you fall in love with a particular work you may be prepared to be flexible about your budget. Remember – that exact painting is a one-off and it won’t be available again – now is your chance! Art can feel expensive so put in context with your spending on furniture if you are redecorating a room, or how much you would spend on an evening eating out with friends. See no.8 for other ideas to help spread the cost…

4. Get out your tape measure before you leave home

If you are looking for artwork for a particular place, be prepared. Take measurements of the wall where it will hang, take photos on your phone so that it’s easier to visualise the artwork in place. But if you fall in love, be prepared to adjust your ideas – small paintings can be hung in groups for impact on a larger wall, and a small space can look amazing filled with a larger painting.

5. Do a fast first route – with a pen in hand

If you give a lot of attention to every stand you will feel wrung out before you’ve covered even half of what’s on offer. My tip is to do a fairly swift walk around the whole venue – certain pictures may catch your eye but don’t stop too long now. Mark artists you like on your map. Once you’ve looked over everything you will have a better idea of the work on show. Maybe your ideas have changed, maybe you feel stronger in your conviction of what you are looking for. If you feel that you haven’t yet seen anything you like you will certainly have a clearer idea of what you don’t like. The second time you will be more attuned to visually pick up on work which appeals to you – and may spot something you didn’t notice at first.

6. Revisit your favourites and talk to the artist!

The second time round you are revisiting particular paintings or artists you liked before. Does it still grab you on a second viewing? Maybe this time the work feels more enticing? Listen to your instinct. If there is a piece of artwork you are interested on, talk to the artist or gallery and let them know. This is the most exciting part of an art fair – you get direct access to the person who made the work so ask away.

Feel free to ask more about the piece. If you feel it’s the one for you – go for it! If you are still a little unsure then find out if they will hold it for you. The last thing you want is to come back and find it just sold to someone else! It’s unfair to ask an artist to reserve a painting for you indefinitely, after all they are there to make sales, however most artists or galleries will give you time to consider.

7. Take a break and restore your energy

Don’t be surprised if you find your energy flagging – its a visual feast but it’s a lot to take in! Take a break, find somewhere to rest your feet and have a coffee. It’s easy now to feel overwhelmed and head home without making a choice – but then you will just be back to square one. Go back to stands you spoke to and let them know your decision – either way. They won’t be offended, no one will try to persuade you, but there may be a way to help you out with some of your considerations….

8. Ask about paying in instalments

Many of the big fairs offer payment plans through the Own Art scheme which allows you to spread payments over 10 months. But even individual artists may be open to this idea for larger work. I have taken payment for work in three parts. Just discuss terms and remember you are both trying to get to the same solution – a way for you to own a piece of work you love!

9. Keep in touch

If you have found an artist whose work you like – congratulations – that’s like a needle in a haystack! You don’t want to lose touch and forget they exist. Even if today isn’t a buying day, what about your birthday coming up, or an anniversary to celebrate? You can always contact them after the art fair too – I can promise they will be delighted to hear from you!

Even if you never plan on buying it’s worth getting on to gallery or artist’s mailing list – in my experience they rarely bombard you with too many emails and it’s a good way to see more about how an astist works, or how their work is developing. And of course, get free tickets for next time!

10. Take home what you love – and have fun!

Last and most important is to choose what you like. Don’t be swayed by your friend who prefers flowers. A painting doesn’t need you to stay the same dress size to continue wearing it. You can’t lose half of it like a pair of earrings. It isn’t something you enjoy just for an evening or a week, like the theatre or a holiday. All those things are wonderful too, but I continue to get great enjoyment from the paintings I have bought over the years. Some remind me of a certain time in my life, or wake me up in the morning, or remind me just to slow down a little and notice the details. Buy what you love and you will never go wrong.

I will be showing new paintings at Windsor Contemporary Art Fair 10-12 November 2017. Join my mailing list below for Free Private View and reduced entry tickets. If you come along be sure to stop and say hello.

Exciting news that my painting ‘Breakwater’ has been long-listed for the Secret Art Prize run by Curious Duke gallery. UPDATE: Voting has now closed

As always with a gallery display, this just shows the final painting and I know you like to see all the stuff that happens before I get to that stage….

As is my usual practice now, I started on four 20 inch paintings together which helps me to explore and be a bit free-er. At the beginning they are often similar; usually all pretty messy and jumbled until I have added enough to begin to unpick what’s there.

You can see in the bottom image there is no rhyme or reason at this stage. Anything which disrupts and changes the surface is a good start. I use water soluble colour sticks, and thinner washes of paint and next I usually bring in some really dark tones.

It doesn’t matter at this stage if it becomes too black or too gloomy.

In fact that can be good…

If it feels too dark, that tells me what I need to do next to bring the next round of changes.

There was no plan for these, but I had been working a lot in my collage sketchbook and was enjoying creating many small non-square compositions where the colour blocks of found papers seem to break into the white space.

With a fixed shape panel I have to work within the edges but I wanted to bring in this idea of the painting extending outside the edge of the square.

I added bold white shapes to create a superimposed framework. These immediately suggested space and sky alongside the more complex layers of paint texture.

Colour decisions here are also fairly subconscious. I wasn’t working from this sketchbook page in particular, but maybe the frosty image had settled in my mind.

It was early in the year and the light was cool so the cool blue start and stark black and white is reminiscent of winter.

As the painting moved on I added some translucent lime green. The unexpected combination of the white circular forms, the overlaid brightness and diagonal scrapes through the white paint started to feel like sunlight coming through clouds. The dark form had become a mountain and the blues made me think of water.

There is no direct relationship, but a few years ago we spent time in the Lake District. One day we climbed a mountain (well, it was a hill really but we only got the children to join us if we made it a little more exciting!) and when we reached the top, the sun was low in the sky and you could see all the movement of clouds and weather and sunlight on the land below.

I started to think about this moment when I had felt on top of the world. It was a little windy and everything felt alive and full of movement. Using vivid colours like the cobalt blue is quite unusual for me; the british landscape offers a more muted palette. But they bring a more urgent and lively sense to the painting which I enjoyed, it feels vibrant and full of unexpected marks and mini compositions.

Although the painting is not directly of that view, it feels that way to me; a mix of those impressions – the sideways sunlight, the bright and dark contrasts. For me the more graphic feel of the shapes brings a harder edge to such idyllic scenery. It creates a crossover of that outside expanse with manmade shapes and my life in London. It makes an exciting combination.

I often turn the paintings as I work on them; it’s one reason why I like a square format. At this point I was’t sure how much further I still had to go, but turning the painting around helps to be sure the whole image is working together, and means when you turn it back you can notice clearly any parts which still need clarity or attention.

The pace slows right down towards the end and I make very considered changes. Edges are defined, colours finely adjusted. I’m very careful to keep the loose feeling of freedom, bit some control is needed. A sharp slice of white against a rough or soft textured area is very satisfying somehow.

what started loose and bold becomes more carefully adjusted. It’s a fine balance!

And here is the finished painting. Next I seal and wax the surface to bring a soft lustre.  60 x 60cm and sits within an off-white handprinted frame.

This painting was a challenge but as often happens, those works which have the most confusion at some point led to the strongest paintings – where you have really pushed and tested and moved forward. ‘Breakwater’ is a bold vibrant and exciting painting. Some paintings feel like turning points and I will really miss this one so I look forward to seeing who chooses it. See more details about owning this painting here.

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