Ethereal landscapes
Francesca Currie
Francesca Currie solo show : Ethereal landscapes
During this November, Lambert Fine Art will be holding a very special event. We are ecstatic to announce our first solo exhibition with one of our exceptional artists, Francesca Currie. Francesca is a remarkable artist based in Worcester. Francesca studied at The University College of the Arts in Norwich where she achieved a B.A. Honours in Fine Art. She went on to study at the London Atelier of Representational Art. Although she has achieved many outstanding accomplishments throughout her career, Francesca has continued to also contribute a lot locally. You may have seen one of her many brilliant exhibitions in Broadway, Cheltenham or even Worcester.
We are very excited to bring her work to Worcester from November the 3rd – 10th. We do hope you’ll be able to visit this week long exhibition. Francesca truly is an awe provoking artist, with her latest collection encapsulating a eureka moment.
Behind the artist
We are very lucky to have had time speaking one to one with Francesca Currie in the run up to her latest solo exhibition. Join us as Millie speaks to the talented artist, learning more about the behind the scenes of the artwork and exciting insight on Curries new compositional direction.
An interview with Francesca Currie
M: I think we should dive straight into the deep end! It must be difficult, however if there was anything you wanted people to know before viewing this collection what would it be?
F: My aim with these abstracted landscapes is to capture everyday beauty and evoke a sense of calm or hope in an ever-changing world. Each piece is based on real places, and through expressive brushstrokes and softened edges, I strive to create scenes that feel both familiar and dreamlike. I enjoy using a traditional palette and the interplay of light and dark to convey atmospheric landscapes. In our natural world, there is beauty in everyday moments, whether it’s dawn, light across a lake, or an early morning mist.
Building on my classical background of creating still life and landscape work, these abstracts will not only stretch me as an artist, they will also stretch the reach my art has. Available online at an affordable price point, the goal is to have more pieces hanging on walls and even more people enjoying my art. These paintings are larger and full of colour, aimed at brightening up rooms. A combination of acrylic and oil paint, they will also be available to buy as prints.
M: How would you describe this new style of art?
F: The initial intention was to create something completely abstracted. But, as an artist I have learnt that often paintings have their own ideas. I followed what the paint wanted to do. So, they ended up being partially abstracted landscapes. I have been trained as a figurative representational painter, because of this I think there will always been an element of that in my work.
M: That’s very interesting! This subject feels very surreal. The artworks feel like a euphoric dreamlike state in that you’re present yet the ever so slight blur creates a distance. Was this sense of surrealism a conscious decision throughout or is this where the art lead you?
F: The surreal-ness was definitely the paints idea.
M: How has exploring this topic affected you as a painter? How did it feel? I imagine this could provoke many emotions, I wondered if they’re reflected in these pieces?
F: Exploring this has been so freeing. When I began it was an experimentation in larger work. There were no rules with this collection. I purposefully tried to steer clear of what I knew, what I was comfortable with. Working this large is more physical and that physicality creates an energy in the painting. I am not sure experimentation is an emotion but focusing on this evoked a playfulness which was freeing. That is how I felt when I made these.
M: How did this shift within your style come about? You’re very well known for your still lives and portraiture so moving to a more abstract view on landscapes is quite paralleling in a way.
F: I think it’s important to evolve as an artist and to always push the boundaries of something you understand. While these are abstracted, I did find the knowledge I had learnt from the still lives and portraiture ended up coming into it, whether it be the understanding of a colour, or the creation of depth through light.
M: You’ve described this experimentation as being ‘an abstraction of landscape’. Many people have many different opinions on abstract art, but what does abstract mean to you as a painter?
F: It can mean anything. I’m not sure there are strict categories in art, if there were I think that may limit the outcome. For me these are abstract as you can’t see exactly what they are, for others they may be figurative as there is still a shape and form in them.
M: Within your portraiture and still life’s there is much detail. These landscapes however, are more whimsical in that they feel like a dream state which is quite different. Going from detailed work to a looser approach, how did you know when you were done or did it always feel like more detail could be added?
F: Ha ha, this is an age old question for any artist. The simple answer, you don’t really know. At some point you just stop and trust that it’s time to walk away. Truthfully, this didn’t really change from either subject.
M: I can imagine your early inspirations have evolved over time. But, were there any prominent ideas or themes that influenced the beginning of your career that you also found to work and inspire you in this new chapter?
F: Definitely. I am always looking towards other artists, and always influenced by them. My love began with Freud and Sorella, their use of light and thickness of paint created a foundation of understanding for me. This work has been influenced more by Rothko and Turner, their bold use of colour and those gorgeous rich tones they create in their paintings.
M: The title of this exhibition is quite emotive. ‘Ethereal’, it’s a very powerful word to describe nature. I would love to hear more about this and why this powerful word choice?
F: I remember noticing nature more during lock down, like many people. It was something grounding while things were chaotic in the world. I have spent time listening to people when they talk about what they want to see in their home. It became apparent that it’s often that feeling, this grounding we get from nature. I didn’t want the paintings to be of one place, I wanted them to be anywhere and everywhere. So, whenever you are sat in front of them, you are able to step through to a different place, a different landscape, and hopefully welcome some calm.
M: Thank you so much for taking the time to speak to me and talk deeply about this exciting project. I have one final question, What’s something you hope viewers and collectors experience when viewing this new collection?
F: It’s been a pleasure, thank you. A painting is just a canvas that hangs on a wall. But if that canvas allows someone to look at it and feel connection, then I think that’s the best you can ask for as an artist. I hope it brings people together and I can only hope it evokes something for someone.
