For all my posts about my days on Skye and the things I enjoy doing, I realise that I never talk about my day job as an artist.
This evening I was posting some photos of my most recent work to my Facebook page (Katie Tunn Fine Art) and I found myself writing more about the background to the pieces than I usually do, like a kind of mini blog.
Since these new paintings are Skye-inspired I thought I’d share what I wrote…
‘Back in 2013 I took a month out to explore Scotland. As an ocean-lover and a geology-enthusiast I have always been entranced by the natural beauty of the country.
I had no planned route but as I roamed from place to place I realised I was in pursuit of something… The colour blue.
From the icy teal of the deepest Fairy Pools to the Caribbean turquoise of Coral Beach -I found glimpses of what I was looking for on Skye. It’s part of why I fell in love with this place and perhaps what led me to move here.
I’ve now been here for over a year. Although I’ve been making art the whole time, it’s been mostly my ‘bread and butter’ work, portrait commissions.
I love this type of work but for a long time I’ve been meaning to make some more intuitive art that reflects what I love about this island. I have no idea why but something always stopped me.
It took an impromptu painting session with fellow Skye artist and friend, Marion Boddy-Evans, to inspire me to loosen up and experiment.
Following her words of encouragement I’ve been rapidly turning every blank surface in my studio blue.
Catching the light
These new pieces are all works in progress as I explore different painting techniques to represent the colours of the ocean and the patterns found in minerals and gemstones.
It’s great fun to go back to using high-gloss surfaces, circular canvases and metallic colours, it’s been a while.
It feels like I’m beginning to really find my blue…’
All my favourite colours
The circular canvases in the somewhat blurry photos above are my favourite pieces so far but it’s been fun to play around with different surfaces and materials too, especially using stuff that I’ve picked up whilst cleaning beaches.
My studio has gradually become a shrine to cerulean; it’s a delight to walk in and be surrounded by splashes of my favourite colour.
As I mentioned above, this is a departure from my everyday artwork which mainly consists of portrait commissions. I specialise in drawings and paintings of people or horses, often with a military or polo theme. Yes, it’s incredibly niche but it’s a good market and one I enjoy working in.
There are pros and cons with working to commission…
Pros: It’s guaranteed work and I really enjoy meeting my new subjects.
Cons: It can be painstaking with little room for error or movement. But worse, you never know whether your client will like it or not so there can sometimes be an agonising internal struggle to work out whether you’re really up to the job.
When working on a big commission I often spend most of my time doubting whether I can really paint at all and whether I’m committing some kind of fraud by pretending to do so. It may sound extreme but it’s not an uncommon train of thought. It’s what makes us try to be better artists.
It’s the lack of that internal struggle that makes this intuitive, abstract way of working feel more fun and carefree.
As my friend Marion wrote on her blog recently, you have to experiment and accept that you’ll make mistakes. I really owe her one for inspiring me to find that freedom with paint that I was beginning to lose a bit.
I’m looking forward to getting back into the studio and seeing what comes out next…
To see more of my work please visit my Facebook page: Katie Tunn Fine Art