Interview
Paul Kane
Paul works from his own studio and gallery at the inspiring Lodge Farm in Riseley, Bedfordshire, UK.
Since 2010, he has been developing his own works and producing commissioned pieces. More recently, he’s enjoyed teaching art on a one-to-one basis, along with carrying out workshops and demos to larger art groups.
His art has hung in the Mall Galleries, Trafalgar House, and been presented in a number of solo shows. He successfully contributed to the Art 4 Africa shows in 2016 and 2018, and exhibited in the East of England Art Fair in 2021.
He has sold his art to clients all over the world, and has pieces as far flung as Melbourne, Atlanta, Huston, Algarve and Malaga.
What is your background and how did you start your journey in the art world?
“I’m a self-taught artist. I sold my first commission to a nightclub when I was 16, back in 1983! I was too young to see it in place, but I knew that I had something to offer. Unfortunately, I wasn’t encouraged or inspired back then. I bounced from one thing to another, finally ending up in an IT career.
It wasn’t until 2010 — after unhappy decades barking up the wrong tree — that my wife set me on the right path after seeing a piece of work I’d done for myself. Without doubt, we need support and encouragement to embark on a career as an artist. I’m lucky to have a wife who did that, and does so to this day. So, starting from my own home, I began my journey as a full-time artist.”
“My approach to commissioned work encapsulates the concept of ‘imagination made real’. Clients can place anything within the landscapes or composition, giving the work a highly personal meaning. The limits really are bound only by imagination.”
What does your work aim to say? Does it comment on any current social or political issues?
“Coming to art late in life means that finding a style and inspiration can be somewhat challenging. Only now, after 12 years, have I managed to loosen up and move away from my technical background. I’m an environmentalist, and I try to shine a light on the many worthy causes that we all are aware of; to raise awareness and funds for special causes. It’s important to me to do this in a positive way. I mean, does anyone want a brooding prophecy of doom adorning their wall? I prefer to celebrate the beauty of habitats, environments and nature. My work tries to capture movement with a strong bias to light and dark.
Another of my passions is to collaborate with clients on highly bespoke commissions.”
Which current art world trends are you following?
“Environmental art is obviously something that interests me. I confess, though, that much of it isn’t like mine. They’re more like installations making use of ethical materials, which is always inspiring. I love work by Andy Goldsworthy, although it’s not something I would try to emulate.
One thing many of us ‘oldies’ are perplexed about is the arrival of NFT’s. It seems fantastical to believe that art previously worth hundreds can now be sold at huge prices. I don’t know whether to be alarmed, put out or impressed. It remains to be seen if it’s a world that I should inhabit. Maybe I’ve missed the boat already!”
“I’ve had requests to create street scenes with specific cars and cafes in the composition, or a mural capturing the clients’ many trips to Nepal and India.
It’s extremely moving to be allowed into these special memories and to recreate them, to immortalize them both on canvas and murals.”
Do you plan your work in advance, or is it improvisation?
“My commissions are meticulously planned as part of the collaboration. In fact, the prep sketches are part of the offering, giving the story of the works development.
My environmental art is sometimes planned and sometimes improvised. It’s important to pay attention to current trends in order to either enhance the message, or throw light on a cause that may not be topical. At this very moment, I’m keen to finish a painting of the much-abused Pangolin; an animal that gets little attention, yet is the most illegally trafficked animal globally.
I do enjoy moments of complete random creation. Sometimes I have paint left on the palette and use it up with a quick sketch. Or an idea comes and the painting that emerges is always powerful, having originated from within. After COP 26, I felt frustration and painted ‘Firestorm’, which helped me articulate a future of heartbreak and hope. A few people have called it Turneresque, I’ll take that!”
What process, materials and techniques do you use to create your artwork?
“The medium that best suits my busy lifestyle is oils. I can leave on the school run and return to a painting and palette that’s still workable. I do classes and often use charcoals or pastels for ease of use. It’s also a medium that accompanies oils well for preparation and sketch studies.
I work on a very limited palette of 6 or 7 colors. First, I put down a ground that helps to convey the warmth I’m after. Then I work on tonal values from any sketch I’ve prepared on the subject. I try to convey depth, and I use light and dark values to give the subject real zing. I like my art to convey movement when the subject needs it, or an atmosphere with energy. Over the years, I’ve learned to move away from my technical realism and start to loosen up. All my later pieces are much more impressionistic.”
What does your art mean to you?
“Art is my happy place. I’m blessed to have the opportunity to do it full time, and need only to place myself back on that commuter train in a previous life to get over the odd frustration. As I write this, the world has just had the pandemic and now sits amidst a terrible war in Ukraine. It’s important to me that my art has meaning, whilst still celebrating the beauty around us.”
What’s your favorite artwork and why?
“My favorite artist is Colley Whisson. He’s an Australian impressionist artist. I spent a year learning from him. If I could emulate his work, I would be more than happy. I could choose any of his paintings, but his coastal scenes in Italy are especially superb. Check him out.
My favorite work from my own artwork is a hard one. I honestly think it’s always the next one I’m planning. I’m very critical of my work. Like most artists, I’m chasing perfection which, of course, is ultimately impossible. As I’ve said previously, my next piece is in homage to the much-troubled pangolin, so I’ll hope to achieve perfection on that one!”
Have you had any noteworthy exhibitions you'd like to share?
“During the early stage of my career, I was selected to exhibit in the Mall Gallery, London, for the Society of Equestrian Artists. I’ve done numerous solo shows, as well as the Art For Africa shows that support Rise Africa charity. Those shows are especially rewarding.
In 2021, I took part in the East of England show in Norwich, UK. It was during the tail end of the pandemic. It was so nice to get out and meet the many people who support art after the few years we’ve had.”
