Diane Griffiths

by Gordon Smith 20. November 2017 15:47

Essentially a landscape artist, abstracts, flora and animals also feature in my work. During my early schooldays I was encouraged to develop a perceived talent in art, a subject I then studied throughout GCSE and A-levels.

However at university I had to consider my career and studied Media and Business, then moving to London to work within the Media Industry. Now based in Kent and whilst holding down a full-time job in London, my world of art has exploded after having many exhibitions in Kent and East Sussex over 2008 and now in 2009 continues to grow strongly.

My Painting: The landscapes I paint are based on places I have been; I use experience and memories as my starting point, however I am fascinated by pushing the contours of a beautiful landscape into the whimsical and the truly magical.

I don't try to re-create images, photography is more than apt at doing that, but push the scene a little further with the imagination. Although I like to try many different styles I feel that Impressionism has always been the strongest influence in my work.

I am a very visual person; nothing gives me more satisfaction than colour, shape, texture and light. I am constantly amazed by the power of colour, how different it can look depending light and adjacent colours. It isn't about representation; it's about so much more.

To me painting is escapism; it allows real thinking time away from the grindstone. I will finish some paintings faster than others when my thoughts are racing, my brush keeps pace. Alternatively it can be a time to let my brain slow down, my focus can turn fully to the painting and I will shut everything else out.

I couldn't say if one state of mind achieves better than the other, it's all emotion and it's all part of life. Once I have signed the painting, I know I am not allowed to touch it with a paintbrush again. The perfectionist inside me would quite simply never want to stop.

My Art: I aim to inspire the resources of your mind and achieve a genuine moment of 100% attention. If you find that I have interrupted your world, even if only for that single moment, then I will be satisfied. To me art is about giving something magical to the viewer; shapes, colours and textures all spark off the imagination, the brain and senses are stimulated, prompting emotions way beyond the visual representation.

It's about appetite, stimulation, fascination, and infatuation. No two brush strokes can ever be the same, no two paintings will ever match, and that is my inspiration."

Go icon Diane Griffiths's gallery »


Artists Corner | Being an Artist

From Palette to Painting - Dani Bergson

by Aileen Mitchell 7. July 2017 09:37
Dani Bergson

Some ideas come at the most inappropriate times and I have to jot them down while they’re fresh. I always have my sketch pad sitting next to me as I work, and this way I can continuously refer to it and develop a theme before actually painting.

Next I decide on my colour palette which may come spontaneously or involve creating a mood board with pictures of various objects I cut out of magazines. I usually work on stretched canvas or board with acrylics or oil bars.

The beauty of acrylics is that they are so immediate. I can achieve a host textures by scratching and marking and finish a painting in one day. Once I have sketched the form of the painting and decided on the colour palette I treat it like an abstract piece of work to balance colours and textures. I gain a lot of pleasure in discovering new ways of adding texture to my paintings.

When I worked as a textile designer I learnt how to achieve different finishes by printing with scraps of material and using a variety of implements to scrape scratch and mark. Usually I know when a painting is finished. I do like to assess and reassess days later and make final tweaks if necessary.

I find it very hard to be fully satisfied with every piece I produce and I guess this is what keeps pushing me forward and striving to produce better work. Every new canvas is a means of developing as an artist and will hopefully bring more pleasure to those who see my art.

Flamingo Lovers by Dani Bergson
Flamingo Lovers by Dani Bergson


Artists | Being an Artist

Stephen Williams - Creating Art with the iPad

by Gordon Smith 7. April 2017 12:35
Stephen Williams

On my retirement from parish ministry the move from a vicarage to a smaller house meant that space was limited for storing all the art materials and canvases. I have always been interested in working with various media and took the opportunity to acquire an iPad when the parish presented me with a cheque. I have had the iPad for about six months and have been experimenting with various drawing and painting apps.

My initial inspiration came from David Hockney and his book 'Drawing in a printing machine'. My interest grew more and more when I saw the iPad drawings in the book of his exhibition 'A bigger picture'. There are lots of artists now producing work on the iPad and I have found it a very good tool to work with.

I began experimenting with drawing directly on to the iPad and to help me to do this I bought a rubber tipped stylus. The finger works very well after all the iPad was designed to work with the finger however the stylus gives me little more accuracy. My initial concern was that I didn't have a desk top computer to transfer my work so that it could be printed. By by doing some research I discovered that a desk top is not necessary, everything can be done from the iPad wirelessly.

I invested in a good colour printer which also scans and copies and have been able to print my drawings this way. The scanner facility on the printer also enabled me to scan all my A4 fine line pen drawings onto the iPad and with the camera I can photograph my larger pen drawings. The apps that I use for my drawings have a copy function so that I can transfer my scanned drawings from the photograph storage facility in the iPad.

It is early days yet but with time and patience and a great deal of practice some worthwhile work can be produced.

Summer in the Country by Stephen Williams
Summer in the Country by Stephen Williams

The beauty about working with the iPad is that it can be taken anywhere. I can also work without having to have a larger space in which to paint. My wife had a stroke two years ago and that together with a busy parish meant that I had no time for painting. The iPad has changed all that and I can now produce my art work while keeping my wife company. It has given me a freedom and a new medium with which to work and in some ways in greater detail than before. It is possible to use individual pixels to pick our highly detailed features in the drawings.

Gothic Towers by Stephen Williams
Gothic Towers by Stephen Williams

One concern was the printing clarity of the finished art work. Would the definition be clear? Would the pixels dominate the finished print? I need not have been worried, the A 4 prints are very sharp and distinct even printed on standard printing paper. The definition and colour is even better with glossy photo paper and I am about to try printing on high quality art paper. The definition is so good that I have produced a collage print as I call it.

I have a publisher app on the iPad which enables me to transfer my drawings, not only that but I can enlarge each drawing section by section. By doing this I have been able to produce A4 prints of enlarged sections of the drawings to produce large scale separate prints which have then been put together to produce large scale prints from an iPad drawing which measures no more than 4 inches by 6 inches on the iPad itself. The larges multiple print of A4 sheets so far is 46 inches by 35 inches made up of 24 individual A4 sheets of paper.

As I said it is early days yet and there are many artists working in this medium, but for people with limited space and time the iPad is a tool well worth considering.

Aspects of Britain by Stephen Williams
Aspects of Britain by Stephen Williams


Artists | Being an Artist

Humph Hack's Love Of Buildings

by Aileen Mitchell 4. January 2017 10:44

When I was studying "A" level art, part of the course was the history of architecture. I had never really thought much about buildings before that. They provided shelter, warmth; a living space and in most cases that was all there was to it.

My mind was changed and my eyes were opened by the works of architects like Gaudi, Frank Lloyd Wright and Le Corbusier. In each case it was the exterior of the buildings which excited me. I determined to study architecture and spent many hours sketching the exterior of fantastic houses – many split-level in construction.

The Cathedral - Opus 2 by Humph Hack
The Cathedral - Opus 2 by Humph Hack

My parents were delighted with my career plans. I did a week of work experience in an architects’ office – and hated it. Most people spent all their time deciding on which side the doors should hinge or how deep to make the skirting boards; and everybody talked “cost reduction” all day long. The day I applied to college of art in Birmingham, my parents thought I was going to an interview at the local Architecture college but I was headed for the Fine Art Department of the College of Art. On my return in the evening, the answer to my parents’ questions about how I got on was...“There’s good news and bad news!!”

I successfully completed my degree in Fine Art and a further year to train to teach but maintained my interest in the outward appearance of buildings. After I retired from teaching I decided to use my new found freedom to travel and collect ideas for paintings of interesting architecture.

Malvern Priory From the Hills by Humph Hack
Malvern Priory From the Hills by Humph Hack

I have visited many European countries seeking out buildings which excite me. I take multiple photographs and on returning to my studio seek out those which express the nature of a particular building best and amalgamate several to form the basis of my painted composition. I hope to emphasise aspects of the texture, colour and scale of a building – ignoring or reducing the impact of irrelevant detail and concentrating on those elements which make the building unique.

I have little or no idea of how a painting will look when finished, as I attack the bare canvas! I have found that the technique works as well for domestic architecture as it does for the grand public edifice –as long as the subject matter excites me in some tangible way. I have sold steadily on the internet and through exhibitions. My work is held by collectors throughout the UK and Europe.

Little Malvern Court - Worcestershire by Humph Hack
Little Malvern Court - Worcestershire by Humph Hack

I have been particularly pleased with the ArtGallery.co.uk website which gives me a chance to exhibit my work to a wide audience – and how rewarding it is when you get the sort of response that I received from a very satisfied customer whose feedback is the latest to be posted on the ArtGallery.co.uk testimonial page.

So, where to next on my travels – well, I know little of Germany apart from Berlin and my visits to Italy are limited to Rome and Venice. There is much of Europe and Eastern Europe in particular which remains to be explored. And the UK always has surprises round the corner. I shall not run out of exciting subject matter. My wife with whom I travel shares my excitement in buildings and miraculously we are lucky enough to live in a split-level house which could have been the subject of my adolescent dreams.

Humph Hack

Humph Hack's art gallery »


Artists | Artists Corner | Being an Artist

How I Found my ‘Muse’ by Gill Bustamante

by Aileen Mitchell 8. September 2016 12:00

I dedicate these ramblings to all those artists looking for their muse and all those art buyers who are helping artists to survive. Thank you! Gill

Many artists are trying to find their inspiration, their creative influence or their USP (Unique Selling Point as marketing people call it) and it will be distinctly different from person to person.

I was brought up in the London suburb of Bexleyheath and I hated it. I wanted the sea and fields and trees and I did not get this in Bexleyheath. Moving to Sussex was like finding a supermarket after 20 years starving in a desert. I needed space and I found plenty of it in the countryside and coastline of the south of England. That was the first step to finding my muse.

November Stirs - A Large Autumn Landscape Painting by Gill Bustamante

I was painting for quite a while before I could define what my personal style was though. It took learning to draw accurately, learning to paint traditional animal portraits, trying all sorts of mediums and techniques before I finally realised I did have a painting style. This only became obvious to me around 10 years ago and it only happened once I had enough technical skills under my belt to feel confident enough to be more experimental. I found that what I wanted to paint was places and things that were a little bit mystical and that I could escape into.

I wanted to paint things that were reminiscent of real places but with something else enchanting them a little. I wanted paintings that could lead me elsewhere entirely (along with anyone else who wanted to go there). This was my step two and this quote by Mary Lou Cook (actress, humanitarian and artist) sums up well what I found to be true for myself.

"Creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun." - Mary Lou Cook

Bluebell Fields - Original Oil Painting by Gill Bustamante

I began to use bigger canvases (so I would have more room to play about and try things out) and I began to walk regularly. I became an absorber of my environment. By that I mean that whatever I see tends to lodge in my mind and I often have no idea what I have absorbed until I paint and then I see what I have observed. My landscapes became largely painted from memory combined with imagination and often start with a simple sketch with pleasing shapes in them but not much else. I like my landscapes to grow organically just like a real landscape does. Sometimes this went horribly wrong. About 20% of my landscapes were so bad I had to paint over them and start again but that was no problem as it all added to the texture of the next painting (I pity the person who X- rays one of my paintings in 200 years time hoping to find a masterpiece as they will be very disappointed).

Step three of finding my muse is in progress. Art is about observing something or imagining it and then finding a way to present that viewpoint to others. Everyone can do this but true artists keep evolving in how they present their viewpoints and how they present the message the wish to get across. If your art is not evolving, it is dying.


Hart Of Winter - A Winter Landscape by Gill Bustamante

I am immensely grateful to online galleries such as ArtGallery.co.uk and the internet generally for levelling the playing field for artists and for those who buy art. Anyone can make art and anyone can present it to others. A big name artist can be found next to a 13 year old artist living in a slum in India and they have equal opportunity to sell their art which I think is fabulous.

By Gill Bustamante - Artist and Art Tutor, ArtGallery Contributor


Artists | Being an Artist


by Aileen Mitchell 15. August 2016 09:00

An interview with Andrew Reid Wildman

Photography of urban scenes draws me. I am attracted by its realism, its resonance with everyday life in all its shades. When I see a photograph of a rundown shop or a derelict building, it sets off a chorus of emotion in me; sadness, recognition, familiarity, nostalgia, mystery, danger even. However I need to be able to engage with the photograph and this is why I use a technique I describe as “photofusionism.”

Andrew Reid Wildman

In photofusionism, I use the photograph as a starting point, the core of reality that cannot be changed. I am fascinated by the borders of reality, the point at which it blurs into perception. For me the work really starts to come alive at the edges of the photograph. I seek to fuse the painting and photograph in nearly every work I do, in order to create unity of reality and perception.

When I choose my scenes, I look for an underlying sense of nostalgia. On a deep level, I identify with my buildings; their loneliness (I never paint people in my urban work), the feeling of gradual decay and ageing, their world weariness, their emptiness and sadness but also their solidity, their resilience and timelessness.

I see great beauty in urban scenes; the glory of red brick Victoriana, the solid ochre and limestone colour of stone, the corrugated iron and rusting metal of windows. I love the peeling plaster work of stucco and the black, inky texture of hot tar. My works tend to focus on places of great personal significance to me. For instance many of my photofusionist works depict Yorkshire. As a young child I remember the thrill of visiting Hull with its endless streets of tatty Victorian terraces, many of them already condemned and empty. I also remember the joy of York’s medieval buildings and the promise of cakes and toys.

In London, I constantly return to Maison Berteux, an old fashioned Soho cake shop with striking stucco that makes me want to paint it again and again. Other favourites are Edinburgh and Glasgow and London’s Brick Lane, all with their fair share of urban danger.

I very often add collage to my photofusionist works as I find this makes the work really come alive. I choose collage materials from lost decades, the 50s, 60’s and 70’s. This material connects me to the building and gives the work a soul. The cheery idealism of advertising draws me and cheers me, softening the sharpness of time lost with its eternal simplicity.


Artists | Artists Corner | Being an Artist

Shining A Spotlight On Sheryl Roberts

by Aileen Mitchell 14. January 2016 12:14

This week we shine the spotlight on bestselling artist, Sheryl Roberts. Reflecting the early morning light and catching the energy of the moment are the main inspirations behind Sheryl’s works. The intensity of the scenes she captures give a real impact, aided by the choice of strong pigment in oils and acrylics, and the occasional bold marks from a palette knife.

We find out where Sheryl gets her inspiration and very recognisable style from:

'Severity' - by Sheryl Roberts

ArtGallery: Describe a typical day in your life as an artist ...

Sheryl Roberts: I wake up very early! This is my favourite time of the day when the earth is sleeping I find peace and solace watching the day break.

AG:  Where do you gather inspiration for your artwork?

SR: With my iPad I capture the light gradually turning on the vast skies. Experiencing the first light and the waking landscape gives me my main source of inspiration.

AG: What was the first piece of art you created and the first piece of art you sold?

SR: I sold my first piece in 1999 and still thrive on sharing my ideas through my paintings. I was elated to find, as an abstract artist, others could share my vision and appreciate my art as I assumed, at first, that this was an inward and very personal representation of my thoughts and feelings.

'The Beginning Of Life' - by Sheryl Roberts

AG: What is the most important piece of equipment in your artist’s tool box?

SR: The most important piece of equipment in my toolbox is an old working clock face of my late grandfathers. I look at it too much! I am pretty obsessed with time - constantly trying to predict what the sky will look like throughout the day.

AG: How has ArtGallery.co.uk helped you progress your artistic career?

SR: Since joining artgallery.co.uk I have sold many pieces of artwork. It certainly helped in gaining a wider audience for my work together with Aileen and Heather (the "real" people behind it!) being helpful and encouraging throughout.


'Breaking Through' - by Sheryl Roberts


Artists | Being an Artist

Shining A Spotlight on Alexandra Grashion-Cowley

by Aileen Mitchell 18. December 2015 16:43

Finding and painting an energy, whether it be from a vibrant figure or a decaying building, can produce fantastic works of art. Alexandra Grashion-Cowley paints striking oil on canvas works that show a real vibrancy. We asked her about her life as an artist and what keeps her inspired. 

ArtGallery: Describe a typical day in your life as an artist.

Alexandra Grashion-Cowley: A typical day for me in my life as an artist would begin with a brisk ‘doggie’ walk for fresh air and exercise before returning to set up my studio and immerse myself in the current project. Paint is retrieved from the fridge and various pieces of equipment are suitably placed ready for use. Music to set the mood, and black coffee are often a welcome and necessary addition.


'Hiding In Plain Sight' - by Alexandra Grashion-Cowley

ArtGallery: Where do you gather inspiration for your artwork? 

AG-C: Inspiration for my artwork can often hit me blindside when I least expect it. It can be something as simple as seeing beautiful colours together in whatever form, or a particular piece of music. I am often drawn to architecture, especially if it is falling into decay - to me this holds a strange beauty because it is no longer perfect. The energy of models on a catwalk and the spectacular colour of their clothing and the lighting effects are always a source of inspiration, having been heavily involved in the clothing industry. I see fashion as art on a body. I also attempt to portray a mood within my paintings to create atmosphere.

ArtGallery: What was the first piece of art you created and the first piece of art you sold?

AG-C: I have created art in some way ever since I could hold a pencil and was presented with a little desk. My ability is an inherent gift from both parents so I have been artistic for the whole of my life. The first piece of art I sold was a commissioned portrait of a doctor, which was well received.


'A Rose By Any Other Name'  - by Alexandra Grashion-Cowley

ArtGallery: What is the most important piece of equipment in your artist’s tool box?

AG-C: The most important ’tool’ that I own would be my imagination! All art equipment and paint is important to an artist but I have two huge easels which are invaluable due to my preference for producing large canvases, and also my computer, frequently used for research.

ArtGallery: What art do you enjoy and admire?
AG-C: I enjoy and admire art by many artists ranging from Jackson Pollock to Sir Lawrence Alma Tadema - two completely different genres at opposite ends of the spectrum, but the art that I enjoy most and am proud to own has been produced by my own children, each being artistically gifted themselves.


'I Think Therefore I Am' - by Alexandra Grashion-Cowley

ArtGallery: How has ArtGallery.co.uk helped you progress your artistic career?

AG-C: ArtGallery.co.uk has proved to be a most wonderful marketing tool. I had previously been with a gallery in London for seventeen years until it closed due to retirement. This was followed by a reflective period when I questioned my direction, but having discovered ArtGallery I have never looked back. The service given with ready support and encouragement is second to none, and I feel well and truly ‘back in the frame’!

'Sunday Best' - by Alexandra Grashion-Cowley


Artists | Being an Artist

Curb The Creative Block: 7 Ways Artists Can Stay Inspired

by Aileen Mitchell 17. February 2014 15:59

Anyone working in a creative field or medium knows how difficult it can sometimes be to stay in the totally inspired frame of mind. The spirit wanes, the mind occasionally blocks, and the creative impulses dribble from your brain like water down a plug hole.

Sometimes it’s just tricky to keep those creative juices flowing – and sometimes we need a kick up the artistic derriere to motivate and galvanise us.  

So, what to do? Well, as a matter of fact, there’s PLENTY you can do to give those artistic sauces a good stirring and those creative proclivities a thorough pounding. Here are 7 of them.

Surf the web

There’s much to mined from the sensational, interstellar glories of the internet other than dubious Dutch women and funny cats.  Nourish your creative and artistic soul by researching other artists, look at other painters and read about other partial-to-frequent flourishes of the pen and paintbrush.

Even better, take a peek at work you normally wouldn’t go for, artistic styles you’re unsure of, artists you haven’t heard of. In other words, stretch out beyond the norm of your artistic practices, outside your artistic comfort zone.  YouTube also has an extensive range of painting/drawing classes and demos.

Pick up a book

The World Wide Web might be a vast library online, but you can’t beat perusing a bookshop for the real deal, the physical connection you get between creator and tome. There’s something magical about a bookshop or library, and whatever subject, movement, style, period, form or artist you’re interested in – or want to find out about – you’ll find it.Online, you can go to sites such as Amazon, research it, ‘peek inside’, and read reviews before you pluck out your wallet.

Take Photos

Grabbing a digital camera and taking your own photographs is a fantastic way of fuelling the fire of creativity. For starters, you’re out and about, exploring the sights, sounds and environments around you in the living world – often stimulating in itself – and secondly, you’re capturing those moments in a single snap.  It’s surprising the assortment of images you can capture, that enrapturing second, captured in time that kick-starts a whole slew of creative ideas and concepts.  

Visit Art Galleries

Perhaps the most obvious one, but we often miss what’s right in front of us – and an art gallery is one of the best ways to immerse yourself in the work of fellow participants of your craft.  Forget the stuffy conception of art galleries as cobwebbed tombs of ancient creations, commandeered by goose-stepping curators kitted in tweed suits, spectacles and an imperious air.  Modern galleries are lively, vibrant affairs, offering rotating programs of art and installations. Sign up to get regular email updates from your local galleries so you know what’s on.      

Make Art Friends

Any creative act should be something of a communal experience. It should unite people, engage them, and give them something to talk about. Well, talk about it with people who share your passion for art then. Find out about local art groups in your area and join them. Have stimulating conversations with stimulating people who are stimulated by art as much as you are.  

Online Courses and Workshops

Schools and colleges offer evening classes, special centres hold courses and workshops – and they’re another opportunity to branch out, meet new people, and consider other approaches and techniques. Admittedly, some of them can be a bit pricey, but it’s another way of, literally, broadening your artistic palette.   

Carry a Notebook

Just as writers scribble down ideas and sentences in moments of creative epiphany, artists should do the same and draw sketches, as and when they get ideas. If you’re inspired by something you see, such as a landmark or unusual image, sketch it.

If an idea pops into your head as you’re trawling the frozen food section of your supermarket, get it down.  Inspiration and artistic creativity knows no bounds and will come in its own time – and you’ve got to be ready for it. Capture those artistic lightning-in-a-bottle moments and always carry a notebook or mini sketch pad.

This just scratches the surface of some techniques you can employ to stop those creative juices from drying up.

Are you an artist with any other tried and tested methods to stay motivated and keep your inspiration levels up?Share in the comments.

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Being an Artist

Interview with Photographer Andrew Fyfe

by Aileen Mitchell 2. February 2014 09:00

Andrew, could you tell us a little about how you got interested in photography?

In 2004, good quality digital pocket cameras became reasonably affordable and being without a camera to take family shots, I bought a small Minolta. While on a walk taking pictures of the family and the lovely countryside I live in, I discovered I really liked taking outdoor shots. At this point, I bought a copy of Practical Photography as it contained an article on one hundred tips to better photography, so I bought a copy and purchased the prosumer digital camera they recommended at the time, namely a 6MP Fuji Finepix S7000. After about six months of learning the ropes of landscape photography, mainly by experience, I began to get results as you see them on ArtGallery.co.uk. I now use a digital SLR camera to capture the scenes.

What are your favourite subjects?

Water and Skies have to be the number one elements in many of the scenes I capture, I really think the UK is amazing in its diversity as far as subjects for landscape photography are concerned and there are mountains, rivers, forests, castles, brides, ancient monuments and any number of other great subjects to choose from.

You seem to relish the light of early morning and late evening – how do you ensure you capture the right moments?

There is only one answer to this and it is to find a location that has all the elements you want to photograph in it, water, sand, pebbles and then to determine whether it is more likely to be a morning or an evening shot. Once you have done this, you simply turn up at the right time, set up and wait to see what unfolds before you. It could take as long as a week to get an image that you are happy with and reflects the true potential of a location. You really must enjoy the experience for its own sake and be prepared to walk away from a scene with no pictures taken. I may only press the shutter release once to capture a scene. Planning and patience I think.

Your photographs on ArtGallery.co.uk are of superb quality – what’s the secret?

It’s taken a long time to work out how to translate an image held on a computer to one that looks lovely as prints. To select the fine art paper that I currently use, I had to print an image on around thirty different papers to judge which one I personally preferred most. The James Cropper paper isn’t fully textured, but isn’t perfectly smooth either and the photographs look absolutely superb on it. I also use other papers and mediums also, from photographic paper, Cibachrome prints to Canvas and people even have my work as wallpaper covering a full wall in their homes.

Have you any plans to produce larger versions of your photos for those who would like to make a real centerpiece of your work?

At present, I offer my work immediately as fine art prints on the fine art paper, as larger prints on photographic paper and as Cibachrome prints and also as larger canvas blocks. These are only examples of mediums and sizes that I am happy to work with and if someone would like a print that is for example 60"x40" on fine art paper or canvas or any other printable medium, I can do this as I have through the time learnt who to work within the printing industry and who can translate my vision of a final piece into reality.

How does photography sit alongside original paintings and sculptures as “art”?

My own personal view is that a photograph as seen in for example my own work takes a great deal of artistic and technical thought and a great deal of perseverance to create even a single example and then that work can never be replicated exactly so is totally unique to that moment. The great difficulty and joy of photography is that you can’t just make it up; the scene actually has to exist in reality even if only for a few seconds for it to become a great piece of art. I think educated collectors understand this and treat really great photography as first class art, which can fetch five figure sums for work like you see on ArtGallery.co.uk as limited editions. I cite the current lovely work of Elizabeth Carmel, whose limited edition prints go for up to £4000 each. Poor landscape photography isn’t art, it produces pictures not artwork.

Why did you choose to exhibit your works on the ArtGallery.co.uk website?

It’s great to find an online art gallery that feels like a bricks and mortar gallery, with real people that don’t hide behind the scenes, but who take the time to interact with artists and collectors alike, I simply say look at our conversation here as proof of that. I've never had this level of attention from an online gallery before. It’s great to be able to show my UK scenes on a British website. and being technical about it, it currently lists in the top ten under Google for an "Art" search worldwide. ArtGallery.co.uk's relationship with its clients and the trust built up over the last few years will mean that that my work will be purchased with absolute confidence, not to mention great value.

Finally, what subjects are you planning to photograph over the next few weeks?

Given what I have said already, I plan my photography over years as a single year can yield fewer images than fit on a traditional roll of film, from even fewer locations. My aim over the next ten years is to continue to capture the beauty of the UK landscape which is more than a lifetime’s ambition, extending the subjects and locations – I’ve barely started.

Andrew Fyfe, photographer of Essex talking about his love of photography to ArtGallery.co.uk


Artists Corner | Being an Artist

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