ARTIST INTERVIEW: Luke Thompson
Luke Thompson
Photo Credit: Jon Tuner Instagram @jonturner72
Please can you give me an introduction about yourself
I am a representational oil painter based in West Yorkshire. Predominantly self taught, I trained through studying the academic and traditional methods of drawing and painting, and developed my craft through working from life. Once I had found the path I wanted to take, I spent a brief period of time in Florence studying under the alumni of the Florence Academy of Art, where I gained an insight into the techniques and practice of the masters of the past. I then brought these ideas back with me and set up my own studio, where I am now working professionally taking regular commissions, tutoring, and participating in exhibitions.
How did you get into art? What inspired you?
I always loved drawing as a child, however I was frustratingly discouraged at school to pursue it, which led me to study History at University, and I also pursued a career in music. At 23, having not picked up a pencil to draw since I was at school, I attended a life drawing class and rediscovered my love for drawing. I dropped out of my masters and decided to teach myself the fundamentals of drawing and painting. It was a slow start at first as I was balancing a job, music, and my studies, however the more I researched, the more I became fascinated with reinventing nature upon canvas. I discovered many contemporary artists today who look to learn from the masters of the past, and this inspired me to do the same. It is a long journey but a worthy pursuit.
Five of Cups
Describe your creative process; from start to finish of a painting. Where do you find your inspiration?
For inspiration I look to nature, feelings and emotions within myself, and people around me. I usually begin with a small sketchbook study to map out the composition. Once I am happy, I complete a small colour study and then begin the main painting. I always work with an underpainting, usually a neutral tone mixed with Ivory Black, Venetian Red and Yellow Ochre. I draw with paint, mapping out the figure and main shadow/light shapes. Once this is established I block in the colours broadly, working from the general to the specific, and try to keep my brushwork loose. I continue to render and mold the details, bringing out the contrasts and saturation where needed. For larger works, there is the back and forth of layering and developing the painting, whereas if I look to complete a painting alla prima, I will paint wet into wet paint to create a very immediate and spontaneous effect. It depends on whether I am completing a figurative piece in the studio, or out in the landscape painting en plein air. I try to adapt my method where necessary.
Tell me about a particular piece of work you are proud of and why?
I am recently proud of my latest piece which is the first of a collection titled ‘Nocturnal Meditations’. This piece shows a figure in a dark and baron landscape, slouched beneath a broken tree. Despite knowing there are things that can be improved upon within this field, I am happy that I am beginning to be able to communicate my visions and feelings through narrative paintings. It is a step in the right direction.
How would you describe your style?
I suppose it is somewhat naturalistic and representational, however not overly refined, I like to try and keep my paint application quite painterly too. There are elements of chiaroscuro in some of my paintings, where there is a single light source and a strong contrast of light and shadow. I like the subtle drama that this effect has, and the way that it describes the form of the subject.
Nocturnal Meditations
How do you stay inspired and motivated in your work?
I’m always inspired and motivated, I feel that drawing and painting is something I always need to be doing. It gives me purpose, meaning and makes me very happy. I suppose the fact that we aren’t on this earth for long gives me some urgency, I don’t want to leave behind work that isn’t to the best of my ability at least. I am also lucky to have loved ones around me who are supportive and inspiring.
Who is your favourite artist and why? Do they have an influence on your work?
My mood changes often on my favourite artist however very often I come back to Anders Zorn, Fantin-Latour, Rembrandt, Antonio Mancini, Singer-Sargent. I could continue with many others, they are all very expressive but representational painters. They have such a mystique about their work that becomes very emotional to look at. I try and take an influence from their colour palettes. I’ve recently adopted a limited palette for my portrait work, of Ivory Black, Venetian or Cadmium Red, Yellow Ochre, and Flake White, typically known as the Zorn Palette. I love the atmosphere and the image of reality that these painters captured with limited means.
Why do you think art is important in society?
It is fundamental I believe. Personally I think it is important to tell our own stories and give our own feelings and emotions upon society through our creativity. Art inspires and brings people together and it is always there in the bleakest of moments. It is a wonderful way to connect universally too. Drawing and painting can act as a language to communicate through anything such as a large narrative, or simply describing the beauty of a small element of nature.