Six months, 58 paintings, as Andrew Farmer takes coastal path for Watermark Gallery show of Yorkshire and Cleveland Way in oil

Oil painter Andrew Farmer with his bare essentials on a coastal painting trip

BIKE, painting essentials, coffee thermos, paint-spattered radio, South Yorkshire artist Andrew Farmer devoted six months to painting the Yorkshire coast and Cleveland Way solely for the Watermark Gallery in Harrogate.

The results of this commission, 58 paintings in all, are on show and sale in his North Landing show at Liz and Richard Hawkes’s contemporary art gallery in Royal Parade until November 12.

Born in Rotherham, and now living in Doncaster, Andrew is an elected member of the Royal Institute of Oil Painters (ROI). For North Landing, he revisited coastal places he remembered from childhood and explored more isolated locations along the Cleveland Way.

His painting journey started at North Landing, Flamborough, a hidden gem replete with white cliffs and emerald-green water. As he moved northwards, often on the edge of the coastal path on his bike, he stopped to take in different scenes; sailing boats out at sea, discreet coves and children playing on the beach.

“My aim is always to capture the characteristics of a place at a particular point in time,” says Andrew, whose painting path concluded at Staithes. “I love the view over the beck towards the sea from the high vantage point.”

On his return to his studio after each trip, he would work on a select few pieces, taking an initial oil sketch made outdoors and transforming it into a much larger, more imagined work, while also making use of his rare pencil drawings and reference photographs.

Waves and the airwaves: Andrew Farmer’s sea view and his plein-air radio

Here Andrew answers CharlesHutchPress’s questions on a bracing coastal journey from Flamborough to Staithes splashed in oil.

How did you meet Liz and Richard Hawkes?

“Liz and Richard came across my work during a show in Cambridge, and sometime afterwards touched base with me to see whether I’d like to show in their new bricks-and-mortar gallery in Harrogate. I jumped at the opportunity.”

Where did you study art and when did you first realise you had the eye for being an artist?

“From a very early age, around six or seven, was when I dedicated myself to becoming an artist. My formal education started at Doncaster Churchview College of Art, followed by a degree in Fine Art Painting at Canterbury Christ Church University, and finally studying on The Drawing Year at the Royal Drawing School, London.

Child’s play on the sand, captured in oils by Andrew Farmer, recalling his own childhood holidays

“Throughout my education, I’ve been incredibly blessed by the tutors that have guided me along the way, far too many to mention! But one of the most impressionable things for me was that almost all of my tutors were/are practising artists too, creating work purely for themselves, often through obsession.

“This is something I’ve always felt strongly about, to produce work first and foremost in tune with my personal interests and love for the subject, whatever that might be!”

Why favour painting in oils?

“I’ve painted in watercolour and acrylics in my early days, especially during the first years of art school. My mum purchased me my first set of entry-level oil paints at age 16, give or take!

“I remember squeezing the oils out onto a brand-new wooden palette and I loved everything about the medium: the smell, the buttery consistency and the ability to work and rework wet on wet. The medium really suits my inquisitive nature.”

“I loved everything about the medium of oil paint: the smell, the buttery consistency and the ability to work and rework wet on wet,” says Andrew

How did you structure your six-month project for Watermark Gallery?

“I had to be incredibly organised in creating the works for my North Landing show, from limiting my equipment to the bare essentials, including fresh coffee in a thermos, to planning out which stretch of the Cleveland Way I was going to focus on.

“I found it incredibly enriching to settle on one spot for a week, creating a series in and around Filey, before moving on. This enabled me to dig a little deeper, getting to know rock formations, beaches and colour palettes of each individual spot.

“Almost every painting in the show was worked over numerous sessions, returning again and again until completion. This also had its challenges in that, occasionally, I’d go back to rework boats for example, only to find the local fishermen were already out at sea and the boats were no longer resting on the foreshore. This happened mainly at Flamborough during the painting of one of the key pieces, North Landing.”

What does creating a painting over two or three sessions bring to the painting process?

“A lot of plein-air painters will start and finish a work in an hour or two, and that’s great so long as they’re satisfied with the result. Personally, I much prefer to rework paintings over a number of sessions where possible.

“I feel like each time I return, I’m standing on my own shoulders and can go deeper with my subject matter,” says Andrew, whose painting process involves repeat visits to the same vantage point

“I feel like each time I return, I’m standing on my own shoulders and can go deeper with my subject matter. And by this, I don’t mean more detailed. Sometimes it’s the complete opposite.

“I might spend time simplifying, stripping back unnecessary details and noise. It also means I’m able to work on much larger scales, something many plein-air painters would never entertain.”

What is a typical day for you painting in the open air?

“Every single day is different when it comes to painting outdoors, but they tend to have a similar ‘beat’ in terms of timing. I tend to break my day into two-hour sessions; some I start early to fit two sessions in during the morning, and then another two-three sessions in the afternoon.

“Two hours is the maximum amount of time I tend to spend on a painting before stopping and working on another. This is because the light can shift so much that it’s really impossible to continue without changing the whole piece.

“I feel at home along this coastline, both in terms of familiar locations and light, but also with the general public,” says Andrew

“I’ll then return to the same spot with a canvas to take a second shot at it, always checking the weather conditions before making a decision. Because I’m working from life, I can have anything from six to 20 paintings on the go at any one time, all at different levels in terms of progress.”

What do you love about painting the Yorkshire coast and the Cleveland Way?

“It’s such a personal thing for me to paint the Yorkshire coast. This is the area where I holidayed as a child with my brothers and sisters and also where I prefer to holiday with my young family.

“I feel at home along this coastline, both in terms of familiar locations and light, but also with the general public. I’ve met so many wonderful people when I’ve been out painting, one of the brilliant things about painting en plein air.”

Andrew Farmer at work on the beach

Is the light the key to it all?

“One of the key driving forces behind my work is definitely the light. However, I’m not interested only in painting sun-drenched sandy scenes.

“I love equally trying to capture the essence of a moody dusk scene when lights are just flicking on or trying to pin down a passing storm in the distance.

“Painting from life is incredibly satisfying and frustrating at the same time, with some light effects lasting only minutes!”

What do you love about living and working in Doncaster, South Yorkshire?

“I can have peace and solitude when I paint in the more rural areas close to home, and the opposite, the hustle and bustle of townscapes. There’s pretty much every subject on offer within a stone’s throw, which I love, because I can either walk or cycle, which is something I’m trying my best to do more and more.

Andrew Farmer at Watermark Gallery, Harrogate, where 58 of his paintings are on show

“The connections to major cities via the train station are just fantastic too, which makes things much easier when I attend meetings and exhibitions further afield.”

Who are your favourite painters and why?

“There are so many artists that have inspired and continue to inspire me to this day, some more well-known and obvious than others.

My mum bought me my first book on the Impressionists at age 16. Until then I had no idea that painting outdoors was a possibility. Among the Impressionists, I adore Monet, Sisley and Pissarro especially. I also love the solidity, determination and integrity of Cezanne.

“A lesser-known figure and painting hero of mine is Albert Marquet, but especially his beautiful and simple drawings from life. He had an incredible way of simplifying the world on canvas.”

“Occasionally, I’d go back to rework boats, only to find the local fishermen were already out at sea and the boats were no longer resting on the foreshore,” says Andrew

What does your election to the Royal Institute of Oil Painters mean to you?

“This has been a dream come true, and something I’m still beaming about. Historically, the ROI has included some of the most notable painters in British history and it’s an absolute honour to be a part of this.

“Being elected a member in one way has changed everything for me, and in another way it has changed nothing. That’s quite an odd thing to say but I guess what I mean is that when I’m in front of the canvas and the subject, everything fizzles away and it’s back to the grind of painting. It never seems to get easier, if anything, it’s getting harder as I go on.”

He came, he saw, he conkered: Andrew Farmer’s annual autumn project of painting horse chestnuts

What will be your next painting project?

“My next series of paintings is focused on the humble conker (the horse chestnut). Painting these beautiful little objects has become an annual ritual. Every autumn since around 2007, I go out and collect them from under the trees, being careful to keep the spiky shell intact.

“More recently, my kids have also been supplying me with the conkers they’ve collected in the playground, which is so touching that they think of me and my work when they’re in school.

“I love to wait until the shell splits naturally and reveals the jewel inside. I paint these in my garden studio, as I listen to old records, podcasts etc. It’s a great and fun little series that I always look forward to. This latest collection includes 25 conkers, which I can’t wait to share via my website in the coming weeks at www.andrewfarmerfineart.com

Andrew Farmer: North Landing runs at Watermark Gallery, Royal Parade, Harrogate until the tide goes out on November 12. Opening hours: Tuesday to Saturday, 10am to 5pm.

Oh, he does like to be beside the seaside: Andrew Farmer at peace with the elements as he paints

Michele Bianco and Pascale Rentsch venture off the beaten track for natural world exhibition at Watermark Gallery

Work by Michele Bianco and Pascale Rentsch: On show at Watermark Gallery, Harrogate, from March 4

YORKSHIRE ceramicist Michele Bianco and Scottish painter Pascale Rentsch will head Off The Beaten Track for Watermark Gallery’s spring exhibition in Harrogate.

Both cite venturing out into hidden areas of the natural world as inspiration for work created exclusively for a show that will run from March 4 to April 2 at Liz and Richard Hawkes’s gallery in Royal Parade.

“From time spent on long-distance walks and the coastal paths of North Yorkshire and Northumberland, to the Western Isles and Scottish lochs, both artists draw on the effect of the elements on those environments to seek out compositions and shapes to inform their work,” says curator Liz.

Ceramicist Michele Bianco

Originally from Stokesley, avid hiker Bianco makes works inspired by the landscape of northern England and the Scottish Highlands, where her two studios are based. For Watermark Gallery, she has fashioned intricate and beautiful forms from a variety of stoneware clays.

“I try to make work which, in a small way, expresses the beauty I see around me and the way it makes me feel,” she says.

Meanwhile, Bianco is making tracks of a different kind, as she is almost half-way through an epic 1,000km trek from her former studio in Yarm, Cleveland, to her West Highland base.

Split Sphere vessel, stoneware, by Michele Bianco

As she walks the route in stages, natural phenomena such as Teesdale’s Whin Sill, along with the Northumbrian coastline, have influenced the vessels, spheres and bowls that will be exhibited at Watermark Gallery.

“Michele is fascinated by the world around her, from the intricate tracery of winter trees to the passage of time and the way changes are evidenced in the geology of the landscape,” says Liz.

“Her creations represent an intense synergy between form and environment, and like the artist herself, they exude a deep connection to our natural world.

“Michele’s hand-carved ripple vessels, in their distinctive blue cobalt glazes, reflect centuries of erosion by water and wind on rock.”

Painter Pascale Rentsch at work

Swiss-born Pascale Rentsch, who lives in East Lothian, is a proponent of plein-air painting, immersing herself in the beauty of her surrounding coast and countryside. “I am always moved when painting in nature, because wherever I look, I feel hope,” says the 2021 winner of the RSW Scottish Arts Club Award.

“That hope is abundantly clear when viewing her deeply sensitive and touching paintings, where Pascale captures the immediacy of changing weather and light through the seasons, often in challenging conditions, ” says Liz, ahead of launching Watermark Gallery’s new season.

Seashells, mixed media, by Pascale Rentsch

“As we all look forward to longer, warmer days, the work of these two accomplished artists might just inspire some of us to ‘head off the beaten track’ too.”

Off The Beaten Track, Watermark Gallery, Royal Parade, Harrogate, March 4 to April 2. Artists Michele Bianco and Pascale Rentsch will attend a preview on March 4 from 6pm to 8pm. To join them, RSVP by telephoning the gallery on 01423 562659 or by emailing harrogate@watermarkgallery.co.uk.

Gallery opening hours are 10am to 5pm, Monday to Saturday; check out the website at watermarkgallery.co.uk to view the exhibition online.

The exhibition poster for Off The Beaten Track at Watermark Gallery, Harrogate, featuring one of Michele Bianco’s ceramics

Blue Tree Gallery sets new opening hours to herald opening of Jill Campbell’s show

North Eastern artist Jill Campbell: Exhibiting at Blue Tree Gallery, York, in August and September

BLUE Tree Gallery, York, will mark the opening of Jill Campbell’s exhibition on Saturday by introducing temporary new opening hours.

The gallery, in Bootham, will be open on Tuesdays, Thursdays and Saturdays from 11am to 4pm.

Jill Campbell’s intuitive and soulful new paintings also are available to view online throughout the show’s run to September 19 at: bluetreegallery.co.uk/featured-artist-jill-campbell.

Fell Clouds 1, acrylic on canvas, by Jill Campbell

Jill, who graduated from the University of Sunderland with first class honours in fine art in 2014, is inspired by the landscape of the North East, where she lives.

“Most of my work is based on an ancient mining landscape called Cockfield Fell, where I walk nearly every day,” she says. “I use elements of what I see and combine these with my imagination to create my paintings.

“I’m fascinated by the fell’s strange, other worldly, abstract shapes defined by the morning shadows and framed by big dramatic skies. Its pools, pathways, mounds, dips and curves are my motifs.

Jill Campbell: “Fascinated by Cockfield Fell’s strange, other worldly, abstract shapes defined by the morning shadows

“I decide which shapes and colours to play with, then draw and apply layers of paint until I find balance and a painterly world emerges which celebrates this landscape.”

Jill, the third Featured Artist of 2020 at Blue Tree Gallery, has exhibited in such competitions as the New Light Art Prize at Ripon Cathedral, the Beep Painting Prize in Swansea, the RBSA Prize exhibition in Birmingham and the 2019 Royal Academy Summer Exhibition in London. Coming up in October and November will be her show at Watermark Gallery, Harrogate.

Fell Clouds 3, by Jill Campbell