Amelia’s Magazine | Louise Wilkinson Illustrations and Ceramics: an interview with the designer

Louise Wilkinson ceramics- Lemon Tree dinner plate lifestyle

I first encountered Louise Wilkinson’s inimitable ceramics designs at Tent London last September, and instantly fell in love. The likes of Liberty discovered her beautiful bone china early on, and she has more recently created bespoke illustrations for panelling in the shop at the V&A. I caught up with her to find out more about her career to date, where her inspiration comes from and how she set about putting her illustrations onto china.

Louise Wilkinson ceramics- jug lifestyle

I absolutely adore your debut Maple Collection, inspired by English gardens, Oriental china and a love of nature. How did you construct the designs and how long did the process take to apply them to so many different shapes?
I like to draw a few pencil sketches first on scraps of paper and then at a later stage I draw my artworks on the computer with a pen. I love to create intricate artworks with witty details, often with a narrative. The designs are then screen printed and hand decorated in Stoke on Trent. It took many months to consider the shapes and designs together and then to fit the artworks correctly.

How do you pick the colour ways for your designs?
For my Maple Collection, I chose to have navy blue as the main colour with bold, playful, pops of colours for highlights. I often kept to two colours per design, for instance I liked the combination of a citrus yellow accent with navy blue or a coral red with navy blue.

Louise Wilkinson ceramics-Trees plate

What was the best bit about growing up in Yorkshire?
I loved growing up in the counrtyside, being able to spend a lot of time outside. We lived opposite a large field with lots of trees, me and my sister would often play and run around! I have lived in London over 10 years now, so it is nice to have the balance of London life and also visiting my family up north!

Louise Wilkinson Logo peacocks

You have already led a varied design career, studying illustration before moving into print and textiles for fashion. It sounds like the ideal career I never had! What was the highlight of those first years out of college?
I had always wanted to study Illustration so I took an Illustration degree at University. It was great to learn about the different aspects of image making, and after graduating my first job was working as an illustrator designing the prints, patterns and characters for children’s clothes, drawing everything by hand. I moved to London and worked in the fashion industry as a print and textiles designer, whilst also working on freelance book and magazine illustrations. I learnt a lot about working in different styles, techniques and applications to fabrics. It was great to get to know more about the commercial world and seasonal trends. Kids clothing is a fun area to work in!

Louise Wilkinson ceramics-Apple Tree dinner plate lifestyle

Why did you decide to create your own range and how did you effect that move?
I have been an illustrator and print and pattern designer for over a decade but I had always wanted to create my own artworks – to have a little more creative freedom and work for myself, creating timeless, playful and beautiful pieces. I launched my first collection in Liberty after attending the Best of British open day and it went from there!

Like me you are an avid fan of the illustrations found in children’s books, an aesthetic which I think comes through in your designs. Any favourites that you keep returning to?
Yes I do love children’s book illustrations, I always admired the painted collage technique used in the classic tale of The Hungry Caterpillar by Eric Carle, which is a classic. I also love Alain Gree’s cute illustrations and Russian fairy tales. I’m influenced by the traditional decorative arts, nature, exotic dreamlike places and often by different exhibitions I may visit in London. I love art and illustration, including Japanese and Chinese paintings, Matisse, Henri Rousseau, George Lepape….

Louise Wilkinson ceramics-Trees jug

What are your favourite pieces of homeware to design and why, and what is the hardest thing to design?
I love designing all the pieces, especially the plates and the cups and saucers. I like the flat surface area on a plate, which is like a blank canvas for artwork… and I like the little details you can add to cups and saucers. I’d say teapots can be harder to design for, as they are slightly more spherical.

What could we expect to find if we visited your work studio, can you describe it for us?
I am based in South East London where I have a large wooden desk with a Mac monitor and a pen tablet – it’s nice to have lots of surface area. There are lots of things around such as notebooks and pencil sketches, china samples, boxes, packing tape, bubble wrap, brochures, postcards! I have a lot of research in draws and on the walls. I also have lots of magazines and art books because I love looking in books for research rather than always using the internet. Oh and there is always a cup of tea on my desk, I drink too much!

Louise Wilkinson ceramics-Teacups

Why is it important for you to maintain strong relationships with UK suppliers?
I think its great to manufacture as much in the UK wherever possible to support the industry, and it is nice to meet the lovely team in Stoke on Trent who I work with.

When can we expect a new collection from you, and can you share any hints as to what that will be?
I will be selling my exclusive artworks which were created especially for my recent collaboration on the Christmas shop installation at the V&A. I’m also exhibiting at the Modern Show in Dulwich on March 16th 2014. I love this Mid Century design show, which it is local to where I live. I will also be exhibiting at Tent London again, during London Design Week in September.

Louise Wilkinson ceramics-Coral red plates

Do you have any plans to expand into other areas of design and if so what?
I love creating artworks and illustration and this can be applied to many different surface areas. So hopefully new things soon, I have lots of ideas.

Finally, do you have any exciting plans for 2014 – in either business or life – that you can share with us?
Hopefully a few nice trips away, perhaps to Copenhagen or Finland. I may also be getting married this year, which is exciting!

Categories ,Alain Gree, ,Best of British, ,Bone China, ,Ceramic design, ,ceramics, ,Chinese, ,Designer Maker, ,Dulwich, ,Eric Carle, ,George Lepape, ,Henri Rousseau, ,interview, ,japanese, ,liberty, ,London Design Week, ,Louise Wilkinson, ,Maple Collection, ,matisse, ,Mid Century, ,Modern Show, ,Russian, ,Stoke-on-Trent, ,Tent London, ,The Hungry Caterpillar, ,va

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Amelia’s Magazine | An interview with artist Tom Howse, as featured in The Catlin Guide

TOM HOWSE (AM) - SEARCHING FOR THE ONE YOU WANT
SEARCHING FOR THE ONE YOU WANT by Tom Howse.

A few months ago we interviewed Justin Hammond, the creator of the The Catlin Guide and Catlin Art Prize for the best new up and coming artists – currently represented at an exhibition being held at the Londonewcastle Project Space in Redchurch Street in East London. Amongst many interesting artists (I like the work of Adeline de Monseignat, who is also promoted by Art Grab) the mystical paintings of Tom Howse stand out as particularly unique. I decided to find out what makes him tick.

TOM HOWSE (AM) - RADIANT BAZAAR
RADIANT BAZAAR by Tom Howse.

You say that you attempt to create a sense of mystery and unknowing in your paintings – often with a monolith like appearance to a possibly everyday object – why do you think you are drawn to this kind of seeing?
I think that there is something poignant about solitary objects, they give a sense of unity and completion. Where other things may need to be combined and joined together to create a meaning, the impact is sometimes diluted with each component. Mono-imagery has the responsibility to represent all the themes which multiple images would otherwise share. I like the idea that a solitary object can attempt to convey multiple themes, to a point where it becomes implausible to transmit so many ideas through a direct representation, therefore the image resorts to a higher level of omnipotent representation. Which is ludicrous, they can’t do that, but I like the thought that they can, because it feels more exciting.
 
TOM HOWSE (AM) - SPHERICAL MANOEUVRES
SPHERICAL MANOEUVRES by Tom Howse.

Where do the original ideas and objects come from? For instance what is the Spherical Manoeuvres? It calls to mind both a snowglobe and one of those things from the 80s with electrical currents zipping around a sphere.
I like that these things can be interpreted in a variety of ways, that they don’t have to remain fixed in one state of being. An example of what I was saying before is that the object is attempting to be a snowglobe and an 80’s plasma ball thing at the same time, its impossible for it to do both things, so it attempts to become both things at the same time and results in becoming something else altogether. In an alchemical manner it has become a new element, existing between states. I want it to appear to be trying to do this act seriously, but I also want it to fail to do so, and just make itself look ridiculous. There is an absurdity in my work, like trying to express really deep, meaningful pearls of enlightenment, but through the eyes of a buffoon.
 
THE TOWER by Tom Howse
THE TOWER by Tom Howse.

There is something deceptively simple about your final artworks, but I imagine they take some time to create – what is the process of putting an artwork together? 
I can end up painting dozens of images on each canvas. Sometimes I’ll be really excited about something I’ve painted, but after an hour I may have completely lost interest in it, other times I may see something I like in a painting I’ve not touched in months. I think it takes a long time to really understand what you’ve painted. Also, to achieve that simplicity, the image will often have started off being far more complex, I then tend to get annoyed with the busyness of it, I begin to try and single out the most vital aspects of the image, and go about turning the volume down on the peripheral irrelevancies.
 
LANTERN by Tom Howse
LANTERN by Tom Howse.

How do you choose what medium to work in and why is it your preferred medium?
I almost solely use oil paints and pastels, I think that I’ve developed my approach to painting not through what I want to paint, but through how I want to paint. I don’t tend to wash my brushes out between colours and I don’t tend to wait for wet layers to dry, this results in loads of unexpected effects, really dirty colours but with brilliant streaks of virgin paint running through. I usually draw figures in with pastels as apposed to with a brush because it feels more like working with pencil on paper, makes it feel more relaxed and natural. I also hate to waste paint, so you can leave the oil paints on your palette for weeks then still pick them open like scabs filled with beautiful gems.
 
UNCONQUERED MAGIC by Tom Howse
UNCONQUERED MAGIC by Tom Howse.

The colours you use are very vibrant – so much so they seem to take on a 3D life of their own, almost as if the paintings are lit from within. What other artists or movements have inspired your work?
I really like colourful work, but I also quite grimy, dirty paintings too, and best of all when their combined together. There is a list of painters who have inspired my work in different ways, such as Henri Rousseau’s portraits and jungles, Phoebe Unwin had a show at Wilkinson Gallery a year or two ago, that’s still in my mind. I saw a painting by Daniel Richter at Frieze last year that has stuck with me called London Is The Place For Me. Recently I’ve been looking at the patterns in Gustav Klimt’s work.
 
TOM HOWSE (AM) - RAINBOW WAND
RAINBOW WAND by Tom Howse.

Your sense of magic is very prevalent in Rainbow Wand – what do you hope viewers will feel when they look at this image?
I hope they feel magic. If viewers felt magic in all my work I’d be pretty chuffed. I hope that it can attract people to look at it, and look at it long enough to try and think what the image may mean for them. Chances of anyone feeling anything profound when they look at my paintings is pretty far-fetched, but I think it’s a pretty good aim to have in mind when I’m painting.
 
TOM HOWSE (AM) - LEMURIA
LEMURIA by Tom Howse.

If Lemuria is inspired by a cat is it inspired by a real live one? Can you tell us more about this character… real or imaginary.
Well there is a real live cat in my life, and he’s a nasty piece of work! Not all the time though, he can be a real darling too. He goes out most nights and gets into trouble. He doesn’t really have a name, it doesn’t mean anything to him what he’s called, and he never listens. Sometimes I call him Teacake, sometimes Susan. Recently I’ve been calling him Fun House. I like that he’s not got a proper name, makes him seem more elusive.
 
SPOTTED MONOBROW by Tom Howse
SPOTTED MONOBROW by Tom Howse.

What next after Art Catlin?
I’m going to enjoy some good studio time, main thing I want to do is get on with some more painting. I’m meeting with a couple of different people to discuss doing some shows later in the year and I’ve been asked to put in a piece of work for a group show at The China Shop Gallery in Oxford, the show’s titled Apophenia and it opens 7th July.

Check in with Tom Howse here. The Catlin Art Prize exhibition runs from 4th – 25th May at Londonewcastle Project Space. Read my full listing here.

Categories ,Apophenia, ,Catlin Art Prize, ,Daniel Richter, ,Henri Rousseau, ,Justin Hammond, ,Londonewcastle Project Space, ,Phoebe Unwin, ,The Catlin Guide, ,The China Shop Gallery, ,Tom Howse, ,Wilkinson Gallery

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Amelia’s Magazine | An interview with Hannah Rollings: Amelia’s Colourful Colouring Companion featured artist.

Hannah Rollings
Hannah Rollings recently published An Artist Once Said with Michael O’Mara books, a beautiful interactive art book. Her piece for Amelia’s Colourful Colouring Companion follows on from this idea, taking the style and ideas of Henri Rousseau as a starting point.

Hannah Rollings portrait
Your PhD thesis is extremely interesting – can you tell us a bit more about it in layperson’s terms?
I am looking at developing illustrated interactive books or digital outcomes for children aged 8-11 on the subject of woodland stewardship specifically communicating the carbon cycle. I hope to work with children themselves to co-design narratives and resources that they find meaningful.

Dev Hannah Rollings
What draws you to educate youngsters about the natural world, and where did this interest start?
I’ve always enjoyed animal documentaries and used to have a WWF filofax that I used to study and draw from. The outdoors has always been a massive part of my life and has come to mean more to me as I begin to think about what is important in my own life. That natural childlike fascination of learning about things you see or find on a walk in the woods is very liberating and gives me a great sense of freedom that I hope I can communicate to big and small explorers.

Hannah Rollings
You also teach, what do you enjoy most about the engagement with students?
Teaching is a very inspiring conversation as you often question your own thoughts on subjects and it is always a privilege to see someone develop their work and to have a small helping hand in that is very rewarding. It is about asking the right questions at the right time, not necessarily having the answers.

Development Hannah Rollings
Why has academic study in general been so important to your artistic process?
Illustration can be quite an isolated working environment so I have always found that study has given me a good balance to broaden my work and gain critical discussion. Academic study has allowed me the structure and collaboration to develop a more reflective practice, giving me the space and confidence to shape my own direction. I also quite like certificates.

Hannah Rollings
As part of your research you coppiced an ancient woodland – what did you learn from this process?
It was a rollercoaster of an experience: amazing discoveries coupled with the practical difficulties alongside general misunderstandings about coppicing such as often being asked why are you cutting down trees. It was beautiful to see a small coppiced area come back to life through the seasons; the bluebells come up as you’ve given them more light and the butterflies and insects take over while new shoots of tree come up doubling the trees capacity to grow and live on.

Hannah Rollings
What inspired you to create your recently published book “An Artist Once Said”? It’s a beautiful tome.
Whilst lecturing in the studio staff and students would often put on the wall their favourite quotes from artists they admired – each unique and fitting to that persons work – and I thought what a lovely idea for a book. As I often need a creative nudge to get over the blank page.

Diary of a Redundant Cow Shed Hannah Rollings3
What is your favourite way to work?
I love the looseness of inks and watercolour but also find I want to create a little friction and contrast and then that is when collaging on the computer can be very exciting as it allows you to bring very different elements, scale and textures together to experiment and surprise yourself.

What made you want to take part in my colouring book?
My work is focusing on building in interaction and the refreshing menagerie of illustrators and approaches I thought would be very exciting to see and be apart of.

Double Page Hannah Rollings
How did you decide on your theme and realise the image for the colouring book?
I wanted to lead on from an ‘An Artist Once Said’ and had been looking at Henri Rousseau as part of my research in depicting foreign lands that people may not have first hand experience of but have magical naive images of. So I looked at this idea of travel and exploring to discover, as Henri Rousseau himself did to produce beautiful images, through the medium of colouring.

I am so excited that Hannah Rollings is part of Amelia’s Colourful Colouring Companion. Available to pre-order as soon as my Kickstarter campaign is live!

Categories ,#ameliasccc, ,Adult Coloring Book, ,Adult Colouring Book, ,Amelia’s Colourful Colouring Companion, ,An Artist Once Said, ,Coloring, ,Coloring Book, ,Colouring, ,Colouring Book, ,Hannah Rollings, ,Henri Rousseau, ,interview, ,jungle, ,Kickstarter, ,Michael O’Mara, ,PhD

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