Interview

She now creates original illuminations and heraldic art for clients across the world.

She also has a great love of teaching, passing on her valuable knowledge and skills to others so that this exquisite art form will not be forgotten. Her School of Illumination has been running for over twenty years and she has taught hundreds of people. Now she offers this globally on an online platform.

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What is your background and how did you start your journey in the art world?

“I grew up in Brisbane, Australia, then moved to Finland in 2018. As a child I was always drawing, building or creating something along with writing poetry. All things miniature fascinated me! I grew up in the Church listening to Bible stories and becoming involved in all that the church had to offer, but began to get very disenchanted, feeling that I needed something more substantial. This Christian influence was significant on my beginnings in art.
After my basic education was complete, I went on to study Art Teaching, and it was while writing an assignment that I came across a book on Medieval Illuminated Manuscripts in the Library. As I opened the book and my eyes fell on the images, it was as though the book opened up and swallowed me. I was totally enchanted with the rich colors, intricate patterns and an overwhelming sense of the sacred. I borrowed the book for inspiration and began creating illuminated manuscripts like it was the most natural thing in the world. My background in Christianity, my love of books and miniature artwork all culminated in this beautiful art form.”

“Because of the unique nature of this artform, there were no courses that I could attend to learn how to do it. So, before the wonders of the internet, I bought every book on illuminations that I could find and studied the works of those great medieval masters.
I went on to teach High School Art and run the Art Department for my school for four years, then I left teaching to pursue my career as a Solo Artist. During this time, I used my love of teaching and my previous experience to start the School of Illumination. I remembered when I first started that I would have loved something like this, so it was set up to help others who were interested in this artform. This began as live classes in my local area then went on to become an online platform where I now have students from all over the world. For many years I continued to create illuminations, and sold prints at local markets and festivals. I also exhibited in local galleries and libraries.
Around the year 2000 I began exploring spirituality, and joined an Order of Mystics to study esoteric wisdom. This had a huge influence on my artwork. I began creating some drawings in pencil that explored the topics I was studying and my own spiritual journey. My Illuminated Manuscripts also evolved as I began to write my own verse rather than using other people’s words. I started to understand that the work I was creating could help other people on their own spiritual journeys and inspire them.

My career really took off when I was introduced to Heraldic art, which is like a sister art to illumination. I began to get a lot of commissions from people all over the world and invitations to attend prestigious Heraldic events. In between these commissions, I was still creating my own works. In the last couple of years, these commissions have dominated my time and I have less for my own work.
In 2021 I began experimenting with marbling paper then painting images over the top. This is something that I would like to explore much more, and create a series based on this.”

“My intent as an Artist is to use Universal symbolism and sacred words to create images that speak to people on a soul level and a message to encourage them to find balance within. My vision is that these images will inspire and challenge people to become more; to search within and connect with a deeper aspect of themselves.”

What inspires you most?

“The thing that inspires me the most is the idea of the evolving consciousness of humanity. I feel that we are living in the most extraordinary times that humanity has ever seen, and while there are enormous challenges on a global scale, there are also enormous opportunities for change and an awakening awareness of Self. I believe that change in our world must come from the ground up – from the hearts and minds of every individual. Our governments and world leaders are merely a reflection of the collective consciousness of the people they govern and real change will not come from them, but from the people.”

What themes do you pursue? Is there an underlying message in your work?

“The theme of my work remains the same whether I am creating through illuminated manuscripts, pencil sketches or contemporary painting. The message is to encourage people to look within themselves, to understand who they are at a deeper level, and to embrace the connection that links us all together. It is time for humanity to come of age and take responsibility for their thoughts and actions at an individual and collective level. Unless we learn to accept and respect ourselves, those around us and our world, then the future for humanity is dark indeed.
My work is about inspiring people to see that they are so much more than they believe themselves to be. There is enormous potential within all of us, and when you can learn to move beyond the limitations of the mind and the emotions, you can connect to a higher and purer part of yourself that sees a much bigger picture. Through this process you can reconnect to the Divine Source of all life and allow that influence to flow into all aspects of your life bringing peace, acceptance and joy.”

“I see each of my images as a portal that allows the viewer to step into it. How far they want to go into that image is up to them. Each image can be viewed on multiple levels and does offer the opportunity to create genuine change as the connection to Self opens up.”

What is an artist’s role in society and how do you see that evolving?

“I personally believe that artists hold an important role in society – even more than that – a responsibility. Some Artists have the ability to see a bigger picture, to tap into something greater than themselves and share that with the world. They have an ability to inspire people to see the world or themselves in a different way. There is the saying that ‘Art mirrors society’, and while some art is merely a reflection, other Art has the power to instigate change both on an individual and collective level. Self-expression through a visual medium can be such a powerful way to touch another. As an Artist I personally feel the responsibility to leave the world a better place through what I create.”

What is your creative process like?

"The contemporary pieces that I create are given to me in meditation. Without any warning, it is just there in my mind, complete! I do not create a series of sketches or work through ideas. I just draw the final piece as I remember it.
The illuminations actually begin with the text. It will just come to me in meditation. After the meditation I will quickly write down the words before they are lost. I then decide what time period I would like to create the piece in. All my medieval pieces are carefully researched around a particular time period. I look at the style of calligraphy and ornamentation used in books from that period, then create the letters and borders for my text inspired by this research.
If I cannot paint any of these images straight away, they sort of nag me and keep going around in my head until I can get them out and down on paper or parchment.

MATERIALS AND TECHNIQUES:
I use a variety of mediums and techniques for my work which is determined by which style I am creating.
Illuminations:
The illuminated manuscripts are painted onto vellum or parchment, which is treated animal skin (mostly calf or goat). This is a very traditional material that was to create all the books in the medieval era. Early on, I used watercolor to paint the images, but then switched to gouache as my preferred medium. The text was hand written with black acrylic ink in the earlier works, but now I also use gouache for this. The most exciting and difficult medium is the gold leaf. I use 23ct gold leaf on a prepared base of Kölner Miniatum (a special glue) which can be built up in layers to make raised gold. I also create some mixtures of my own gold and silver paints with combinations of mica powders.
I draw up the main elements of the design first without adding any detail. With illuminations, it is a very precise artform and the borders and various elements have to be measured very carefully. So, at this stage there are a lot of rulers and compasses measuring down to the exact millimeter to make sure the design is balanced.

Sometimes I do the text first, but not always. The text also requires very exact measurements and the lines drawn carefully with a 0.3mm mechanical pencil. Even if the lines are 1mm out, then the design can look crooked and be ruined, so extreme care is necessary at this stage. I pencil in all the words first to make sure the spacing is correct, then write out the text in my chosen font. If I have not used that font for a while, then I practice the calligraphy on some scrap paper to get my hand and brain working together and get comfortable with the script.
Next comes the fun part as I pencil in all the artwork. This is where all the organic designs happen within the border outlines. Again, I tend to use a very small mechanical pencil to do this as the artwork is so very small. I now begin painting with the mid-tones. Then I add in the shadows and highlights. I like to have all my colors premixed and kept in little containers with lids to keep the dust out. This makes it easy to come back to a piece after not working on it for a while, and have the colors consistent. It also saves a lot of time. Gouache is easy to reconstitute, so for each color I create, I make a mid-tone, then several versions of lighter and darker tones. Each little container is then marked with the color name.
I add the goldwork last, so it does not get damaged or scuffed during the painting process which can take a few weeks. I paint on a layer of the glue, then wait overnight and paint a second layer of glue. After waiting another 24 hours, I breathe softly on the area I will gild. The moisture in my breath activates the glue, and I carefully press the gold onto the glue then peel away the excess. With a special soft cloth, I rub over the gold to remove any rough edges and bring the gold up to a mirror shine.
Illumination is a fascinating artform where the words become images, and images become words. I really love playing with this.

Pencil sketches:
My pencil drawings are done with mechanical pencils and 2B lead on hot press watercolor paper.
Marbled works:
The marbled works are done in two stages. The paper (colored pastel paper) is prepared by wiping it with a solution of alum the day before and it is then pressed between wooden boards and newspaper. I then create the marbled backgrounds using acrylic paint diluted with water and a few drops of ox gall which is dripped and flicked into a bed of water thickened with carrageenan (seaweed powder). I then manipulate the paint on the surface to the design I want, and take a monoprint of it with the prepared paper. The second stage is to draw and paint the image onto the dried marbled paper. I use gouache paint for this, starting with the mid-tones and adding the lighter and darker tones as I go.
Strange as it may sound, there are no particular artists that influence my work, nor do I have a favorite artwork.
In the last few months, I have also become very interested in surface and fabric design. My love of patterns which developed as I created illuminated manuscripts has been taken to a new level as I have learned how to create seamless repeat patterns. This type of artwork does require the help of digital tools on programs like Photoshop. I am enjoying the possibilities that this provides, as I love sewing, and can now wear clothes with fabric that I have designed. I see them as wearable art!”