The Arborealists and Guests: The Art of the Tree

The Arborealists are an artist group founded by artist and curator Tim Craven in 2013. Tim’s intention was to bring together artists who used trees and woodland/forest landscapes as the particular focus of their practice and create opportunities to exhibit work together. An exhibition of several artists work is sometimes a more interesting prospect than a solo artists exhibition due to the variety in approach and mediums displayed. I’ve been following the work of The Arborealists since around 2014 when I finished my MA. I was introduced to the work of Blaze Cyan, a member of the group through Louise Pallister (a Twitter friend) and met Blaze when I went to London to see Louise and Blaze’s work at their final MA exhibition at City and Guilds.

Installation View of The Art of the Tree

Installation View of the Art of the Tree

In September last year I emailed Tim Craven and expressed interest in the group, Tim was gracious and said that although all the member slots were filled he would keep me in mind for any opportunities where I might be able to exhibit as a guest. In April I received an email from Tim asking if I’d like to exhibit as a guest with the group at The Turbine House which is part of Reading Museum. I agreed wholeheartedly and set to work making a new drawing to exhibit. It wasn’t easy but I managed to fit drawing in around looking after my baby son, who was just over two months when I first started work on my piece ‘Woodland Study VI’.

Above: Alders Reflected in the Dart, graphite on board by Paul Newman | Below: Shadowline 2, pencil on paper by Celia de Serra

June rolled around, I’d finished my drawing and organised framing. I took my piece to the Turbine House where I met Tim and some of the participating artists. The venue itself was full of character, situated on the banks of the River Kennet with river views from each of the square framed windows. I returned to The Turbine House the following evening for the private view, Tim’s curation of the show was wonderful. Large colourful paintings were given plenty of room while smaller more monochromatic works were placed together. It was a joy to see work in person by Paul Newman whom I’ve followed online for some time as well as Buckmaster/French whose work I’d seen at the Royal Academy Summer Exhibition. A personal favourite was the pencil drawing by Celia de Serra, she captured beautiful light and shadow of a forest trail that mentally transported me to a secluded woodland spot.

Fonthill Beech, etching on paper by Blaze Cyan

Detail of Tangled Bank - Winter Light, acrylic on canvas by David Wiseman

A familiar face at the exhibition was Peter Driver, an artist who I met while studying at Winchester School of Art. Peter had his piece ‘Eleven Of The Seventy-Seven Drawings Made At Two Mile Intervals Walking Between Winchester and Salisbury’ on display.

It was a real thrill to see my piece alongside work by accomplished artists and in such a characterful gallery space too. My thanks go to Tim Craven, The Arborealists and guests and the Reading Tree Wardens who invited The Arborealists to exhibit in Reading and invigilated the exhibition.

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2018: In Review

What a difference a year makes!

Sweet Peas by Claire Leach

2018 turned out to be a life changing year, my partner Craig and I started looking for a home of our own and decided to start a family too. Today, Wednesday 16th January marks my 38th week of pregnancy and the day that Craig and I are finally able to pick up the keys to our first home together! Buying a home and having a baby are huge decisions, ones that we’ve spent years talking about. 2018 finally felt like the right time to make our ‘next chapter’ plans a reality.  So in spring and summer of 2018 our ‘next chapter’ began as we found out that we were expecting and an offer was accepted on a home of our own. These two big changes shaped our year dramatically and mine in particular as my original plan to get a part time job went out the window. I worked out that with sales from my shop I could still afford to pay my way and decided that being self-employed would work best when it came to welcoming our little one into the world. Luckily Craig’s salary meant that we were able to get the mortgage we needed to get a foot on the first rung of the property ladder.

Wren and Sprig of Leaves by Claire Leach

Besides the big changes personally I found 2018 to be a challenging and rewarding year for my art career. January started fantastically well in my online shop. I added the remaining 50 of my 100 day postcard project as well as woodland landscapes and a series on native British trees to my shop which went down very well earning me over £600 for the month. I also wrote a personal blog post in January all about my struggles with the title ‘artist’ and how I overcame my confidence issues and started referring to myself as an artist without hesitation. The post was shared by Jackson Art Supplies on Facebook and has had to date over 1,000 views making it my most read, liked and commented on journal entry.

The first half of the year was spent making drawings inspired by my eleven month travels from 2016-17 for my solo exhibition at The Sheep Shed Gallery in Weyhill, Andover. The exhibition took place in July and went well, helping me to establish a working relationship with the gallery and getting my work outside the studio and onto gallery walls. Exhibiting at The Sheep Shed Gallery in July meant that when a spot opened up unexpectedly in September I was one of the first to be offered some wall space which I graciously accepted. I created a small series of tree and landscape drawings to display alongside a fellow local artist and was pleased to be able to add another bit of exhibiting experience to my artist CV.

I had my first commissions in 2018, a set of two trees and a robin which I found challenging as I’d only ever been used to making work to my own specification rather than somebody else’s. Luckily the drawings went down very well and gave me confidence in my ability to work to a brief.

Silver Birch and Veteran Oak by Claire Leach

My social media presence went from strength to strength over the year, I finally achieved over 2,000 Instagram followers and increased my Twitter following from roughly 900 to over 2,000 followers. Focusing on growing my social media helped massively with sales as many of my drawings were bought by people who found me via these channels.

I entered a couple of open submission exhibitions with my drawing Woodland Study IV including the Summer Exhibition at the Royal Academy for the first time. Unfortunately both attempts were unsuccessful and led me to wonder whether the money and effort of entering open submissions was worth it. I shared my thoughts on Twitter and Instagram and was met with such a lovely and supportive response from fellow artists and creatives.

A campaign that I greatly admire and support called Just A Card featured me on their blog and Instagram account which was such an honour. I also used my own online space to interview ten artists over the year that I admire with the hope of learning from them and increasing their reach online.

Woodland Study IV by Claire Leach

Woodland Study V by Claire Leach

As the year drew on my income fluctuated massively, one month I made just £30 from my online shop while other months I’d earn more than enough to pay my rent and bills. I went through some tough moments where I felt irresponsible for deciding to start a family without having built up my art business enough. In the end I had to accept that I was at a point where I couldn’t change things and had to learn to accept help financially from my partner. My hope is that in the future as my online following grows and my work progresses and hopefully improves that I’ll be able to earn more from my shop with original drawings and perhaps develop a range of work that can be made into prints to create a more passive income. Despite the income fluctuations I ended the year with 102 drawings sold, something that I’m very proud of as I think of how far I’ve come since opening my online shop in July 2017.

Alongside a year of drawing, pregnancy and house buying I also turned 30 in March, celebrating with a wonderful trip to snowy Norway. I was lucky enough to have a family holiday in Spain in May and a trip to Cornwall and the Forest of Dean where yet again I managed to gather so much inspiration for future work.

It’s been quite a year and I have so much to look forward to in 2019 too. I’ve decided to refrain from making goals this year as I have no idea how I’ll adapt to motherhood and how that will affect my life as an artist. Hopefully I’ll be back to drawing in time and my art career will enable me to contribute financially to our little family.

Have you written a review of your year or hopes and goals for 2019? I'd love to read if so, let me know in the comments below. 

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Artist Interview: Dominique Cameron

I'm a curious type; I like to know what informs an artist. Who or what do they look to for inspiration? How do they work? Each month I will be asking an artist I admire a few questions, this month is Dominique Cameron.

The Wood by Dominique Cameron

Dominique, landscape is at the centre of your practice, what is it about landscape that you find so inspirational?

Landscape and walking have always played an important part in my life, from an early age I would walk the countryside with my family and my practice has developed from those earliest times. I have always had the desire to know where it is I live and having moved house many times there has always been this sense of wanting to map any new environment coupled with a curiosity of what lies beyond the door.

I'm particularly taken with the series of work that you did inspired by 'The Wood', how do you decide which type of landscape or place to focus all of your attention on for a project?

I am interested in all forms and variations of landscape, so the projects I undertake will be different each time. For instance after a project in Leith, Edinburgh I wanted to find an equivalent for the complicated, chaotic nature of urban streets. I decided on a piece of woodland not far from home which was overgrown and secluded, very visually complicated but quiet. Currently I am working on a farm which sits atop a hillside looking out over the Firth of Forth – at that point I was needing to be in the open, with far reaching views as a counter to the wood. So one project leads to another…

The Wood by Dominique Cameron

The Wood by Dominique Cameron

You use colour very vividly in some work and stick to black and white in others, is there any reasoning behind this?

My use of colour is dependent on many factors. The large woods paintings were monochrome out of a desire to see the woods pared back. I felt that I could articulate better the space by just using black and white. However it wasn’t simply black paint – there were at least four different kinds of black used. Using colour would have made the immediacy of response more difficult. However the smaller works in oil reflected the sensuousness and richness of the plant life. So in short it does depend on the subject matter.

What are the materials that you work with and is experimentation important to you?

I work with many kinds of materials from oil, acrylic, charcoal, ink, through to watercolour and gouache. I do like experimenting with their differences and at times in the studio I will often use what’s at hand, and can often be surprised by the result. I am currently interested in the juxtaposition of drawing and painting so will often use both in works, and believe there are no rules in mark making, but play is an integral part of any practice.

Leith by Dominique Cameron

Leith by Dominique Cameron

Can you outline the process of making a piece of work from start to finish?

The question of process changes with environment, materials and support. Yet the one constant is the use of gesso. I prime every surface I work on whether that be canvas, wood, panel or paper. I like the ground of gesso that gives a slight tooth and makes the support more durable. I will then go in and out of drawing and painting, building as I go until I either think its time for a cup of tea – and therefore the need to walk away. I will return to sneak up on the work, catching it by surprise almost. I immediately will know where I’ve gone wrong, what needs to be changed, and be startled by my previous decision making – it is almost as if I have not encountered the work before, it feels so new.

Tell me about your studio or creative space.

My studio is a room at one end of the house. It’s the only room that has not had any work done to it. There are doors that open out to the garden and I have a view of the sea. It’s very messy, dirty and piled high with all manner of things. Every now and then I have a clean up as I find I no longer have space. It is not very large but it’s fantastic to have the space close by. If I choose I know I can work in the middle of the night.

The Farm by Dominique Cameron

The Farm by Dominique Cameron

What artists (living or dead) inspire you?

I take inspiration from many sources, not only painters, and this list can and does change, but the artists that have remained with me would include the painters Ivon Hitchens, Joan Eardley, Cy Twombly, John Virtue and writers Virginia Woolf, Kathleen Jamie, Alice Oswald, and the filmmaker Margaret Tait.

I love learning random facts about people, tell me three things about yourself.

Three things about myself – this has proved the most difficult question. Umm…. I like to dance when I work in my studio. I used to be a fire fighter and I do like clothing with roomy pockets - for all my collections of things.

Finally, where can people follow your work online?

You can follow me on twitter - @bourbonandwolfe, and on my website – dominiquecameron.com.

Thank you to Dominique for agreeing to be part of my artist interview series. I first found Dominique on Twitter and was immediately attracted to her black and white depictions of woodland, for obvious reasons if you know me and my own work at all. I’d love a studio like hers, with doors that open on to a garden and a sea view to boot, it sounds like the absolute dream. Remember to take a look at Dominique’s website where you can find many more examples of her work on the portfolio page.

Dominique’s interview marks the end of my artist interview series, at least for now. Thank you to all of the artists that have taken part this year and to all those that have read the interviews too, I hope you have gained as much from it as I have.

If you enjoyed reading then please click the heart at the bottom, share or better still leave me a comment, I love reading them. ❤️