Last of the Evening Light by Lucy Marks ARWS, oil on board
Lucy Marks is an observational landscape painter, who works en plein air working directly from the subject, out in all weathers and seasons. Observation is key and her compositions are drawn from real places. Lucy works alla prima responding directly to the scene to gain a freshness in her work. She works to capture an impression of the mood, atmosphere, and light. In the studio, she uses her en plein air works and field sketches to scale up her paintings to much larger work.
In Times of the Day, her new solo exhibition opening on the 7th of September at RWS Gallery, Lucy will be exhibiting both her en plein air and larger studio paintings. She works in both watercolour and oil and her new body of work will capture the full cycle of the day focusing on atmosphere, mood and light.
How do you typically approach a new painting?
I have a practical approach to painting. It is my day job. I look at it as ‘work’ and paint most days either outside en plein air, or in the studio. I am very lucky that I am never stuck for the creative vibe because I simply love what I do and I also have established a mindset of painting daily no matter what is happening. I don’t think most professional artists have the luxury of waiting to get the vibe. I usually have work in around a dozen shows a year. For me a new painting is part of a larger ongoing body of work. It is another integral piece to my whole practice.
In this exhibition, Times of the Day, your new body of work will capture the full cycle of the day. What is your favourite time of day to paint?
That is such a good question. I chose the theme ‘Times of the Day’ as a challenge to explore the light mood and atmosphere from early morning through and into the night. I was influenced by Jean-Baptiste-Camille Corot and Claude-Joseph Vernet, both fabulous landscape heroes of mine who spent time with this theme. For me it is not so much about the time of day but, it is the experience of that moment and finding a scene in which I can see a composition that I can use to show light and atmosphere. This gives me the inspiration to paint for the hours I need to, to capture the mood. The new show also delves into nocturnes. I found this great fun, and a challenge to explore. There are so many new things to consider when painting in the evening or at night.
A larger work in progress at Lucy's studio in Worthing, West Sussex
How important is it to you to create observational studies and sketches, as opposed to using photographs as references for your larger studio work?
When I am out in the field, I often create a little thumbnail sketch in a Molskine. It is mainly to test out composition. However, I will often use an earth colour, like raw umber with turps, or a watered-down solution of an earth colour. I will use that straight onto the board, or paper, and work up the composition first. Most importantly I spend a long time at this point as it is the foundation of the painting.
Where do you like most to paint?
These days because I paint so much, I try not to have favourite places. I am more driven by atmosphere, mood and light which is what underpins all my work. The Autumn, Winter and Spring tend to drive this for me. Summer can be too bright and hazy. Although those hazy days of Summer, give atmosphere too and there are some paintings of that in the show. I have learnt to enjoy painting in all the British weather to get the best moods outside. I have thermals, waterproofs, fingerless gloves and hand-warmer crackers that I tuck into my gloves and boots.
Lucy working en Plein air in West Sussex
What is it about plein air painting that has kept you inspired throughout your career?
En plein air painting is a state of mind. It is a whole vibe. Nothing compares to working outside in the actual environment you are painting. There are challenges for sure, like the weather. However, the paintings are so improved by all the sensory input of being in the actual place. I am an observational painter. An observational painter who works with the atmosphere, mood and scene. There is no better way of catching atmosphere than painting it live. These days I am also enjoying capturing more urban landscapes and the play of light on buildings and the vibe of a city scene. It is so hard to catch, especially with the constant movement of a cityscape, and so atmospheric. The joy of en plein air painting is that you could go to the same spot every day and it would be entirely a different view.
You love to work in both watercolour and oil. How do you choose what medium to use when focusing on atmosphere, mood and light in your work?
I paint in both mediums in equal measure these days. However, the British weather does limit watercolour en plein air work. Even when it isn’t raining there is often a dampness in the air that is tricky to work with outside. So, on those days I tend to use gouache since it bleeds less in rain-filled air. While with oils, I will often paint in the rain with with no issues, since the water just rolls off the board. And of course I have learnt to paint holding a brolly! You only need one hand to paint, right? Over the years I have worked hard at ensuring my signature and handwriting of style of painting is recognisable in both mediums. Whether working in watercolour or oil, I can capture the scene, the light and mood in my style in all mediums.
Cornish Nights Looe Harbour by Lucy Marks ARWS, watercolour on paper
What does your kit look like when painting en plein air, and what would you say are your absolute essentials?
I have worked at getting my kit down to a portable level. I paint watercolours vertically, i.e. I don’t put my watercolours flat on a table or flat surface. The result is that I can use the same easel outside whether painting with my oils or watercolours. I don’t have to have a specific watercolour easel. I also prefer to stand to work. I have tried sitting down in the past. It is too static and doesn’t work for me and my way of working. The en plein air scene mainly stand to paint and it is a great training. You get ‘match fit’ at standing for hours. I don’t need to take a chair out with me, which helps me to carry less.
I either use a full French easel or a smaller pochade box. If using watercolours, I will tape the paper to a wooden board or just use illustration board on its own as it is robust enough to be used on the easel like a canvas.
I work from tube watercolours. Therefore, my process is the same as working with my oils. The main thing to take out with the watercolours is a spray bottle to activate the paints as even in winter they dry fast.
Do you have any advice for artists wanting to start working outside?
Just do it. Don’t wait for the right weather, because there never is a perfect painting day. Don’t wait for the right kit as there is always something wrong with the easel or pochade. The perfect one has yet to be made! Trust me I have stacked up quite a few pochades now and they all have their pros and cons. Don’t look for the perfect scene; just paint what’s there. Just get on with the job and the work will come! Do dress for the weather. Invest in thermals and good boots! And hand-warmer crackers. And stay safe. Be aware of your environment.
Lucy working en Plein air in Richmond Park, gouache on paper
You were elected as an Associate Member of the Royal Watercolour Society in 2021. What does it mean to you to be a Member of the RWS?
The RWS is a society full of amazing and varied artists who work in water-soluble mediums. The RWS strives for the best contemporary water-soluble work currently being created. I am very proud to be a member, and I feel my painterly loose style fits well with the society’s modern and contemporary feel.
Times of the Day, Lucy Marks ARWS solo exhibition will run from the 7th - 15th of September at RWS Gallery.
RWS Gallery
3 - 5 Whitcomb Street
London, WC2H 7HA
Free Admission
Gallery Hours
Open daily 11am - 5pm
Except closing at 3pm on Sundays
Late night fizz until 7pm on Thursday 12th (all welcome)
For all enquiries please contact lmarksart@gmail.com
August 21, 2024
