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Helen Thomas

How does your art differ from being in a studio space and working from images to being outside and working straight from the subject?

Working on-site and painting in the studio are contrasting and complementary elements of my practice. Sketching and painting outside is more immediate, I’m working from direct observation, there’s a sense that everything is changing, everything is moving even if the movement is imperceptible, and the changes are very slight or slow. There’s a different energy when I paint from direct observation, an immediacy and directness.
In the studio, I currently work mainly from photographic reference. The fixed nature of these reference images brings about a different way of looking and ways of responding in paint. It took me a long time to find ways of working from photographs, but now they help me slow down the looking; particularly in the early stages of a studio painting the process often feels like a kind of mapping.

How does your studio space affect your creativity?

My studio, which is at The Art House in Wakefield, is in the part of the building that was originally a library. Some of the original features were retained and restored when the building was converted into studios. The Art Deco style glass ceiling fills my studio with a lovely spread of daylight. Whilst I can’t see out of the row of windows which runs along the top of one wall, a wonderful old lever mechanism allows me to open them. The changing colour of the sky through the ceiling and the windows gives a sense of connection with the time of day and weather outside.

How do you like working in a studio surrounded by other creatives? Do you feel like this inspires you more?

It’s great to be in a studio group, with a wide range of creatives as neighbours. I often work with my door slightly ajar, to signal that I’m in. I also value being able to close my door when I want to work without interruption.

How has your studio developed over time?

My studio is quite small. I think storage is always an issue for artists; I had a large, strong shelf built over the sink which is great for storing small paintings. Most of the furniture in my studio is on casters, allowing me to easily reconfigure, and make the best use of the space. This is useful as I often have more than one painting on the go at a time and sizes range from little to large paintings. I work variously on the walls, on an easel, on the floor and the table.

I installed two daylight LED strip lights, which have made a massive difference on dull days, early mornings, and evenings. The collection of books and catalogues that I keep in the studio has gradually built up.

I like to keep my space well-ordered, however, I go through cycles where it gradually becomes very messy until I reach a point when it’s time for a good sort-out. I have several chairs including a tall folding chair for when I work at the high desk over my plan chest and a comfy chair which seems to be mainly used by visitors.

What does a typical ‘art day’ look like for you?

It’s about a fifteen-minute walk to the studio, though it usually takes a bit longer as I stop to notice urban wild plants on pavement edges and take photos. As I walked up this morning, I saw the first tiny white flower buds of Common Whitlow Grass (about three weeks earlier than I’ve seen them in the same spot over the last couple of years.

As I enter the studio in the morning, the first glimpse of work in progress can be really useful; a chance to see things afresh. I pull on my old, paint-covered bib and brace overalls and change into my studio boots. I’m working on developing a habit of making studio notes and I’ve found that writing the date in my notebook each day is a good way of making a start, it prompts me to at least write a line or two before I leave the studio. I like to start painting first thing. On days when there’s a lot of desk work that’s where I used to start, the thought being that once it was done, I could paint. However, I’ve realised that written work almost always takes longer than planned, so it’s good to at least pick up a brush and make a mark to start the day.

This morning I started painting by working with the paint that was left on my palette when I left last night. Sometimes, at the end of the day, I leave a note next to, or lightly taped onto, my painting to remind me of something I want to consider when I return. I don’t have a fixed studio routine, I seem to go through phases of finding a good working rhythm, and gradually the pattern changes. Sometimes I like to listen to podcasts or music, at other times I prefer quiet focus. If my attention span is short I occasionally set alarms at intervals to help me work in more concentrated blocks.
Around mid-morning I usually get a hot drink from the cafe at The Art House, the team here are great and it always gives me a lift to see them.
I’m currently working on three paintings and today I’m focussing on a large painting on paper (200cm x 150cm). It’s a complex composition and I came up with a removable grid system, using strings, as a device to help me focus and to keep me working across the painting.

How did you get into art and how long have you been painting?

Before choosing to study Fine Art I had also considered working with the land. When I graduated from Falmouth, in 1992, I had no idea how to ‘go into art’ and I started out by doing a lot of voluntary environmental conservation work. I continued to draw, sketch, and make things as I worked through a range of creative and not-so-creative jobs and freelance work. I love working with people and visiting different places, and I’ve had the pleasure of working on many arts projects, working with people of all ages in a wide range of settings. As soon as I was able to, I took on a small studio space, which allowed me to keep trying things, to keep the thinking process connected with making. I started to focus more on my painting practice when I moved into my studio at The Art House. In 2018 I did a year post-grad correspondence course with Turps.

What advise would you give for people who want to paint?

Follow your interests, follow interesting and inspiring artists, visit venues, attend exhibitions and events, sign up for newsletters of organisations that interest you. Volunteer and get involved. Make work, in whatever way you can find to allow you to keep it going. Hurried scribbles in a pocket notebook win over waiting for the ideal conditions.

Have you got any funny or memorable artistic moments?

One day last summer I was sitting on the edge of the pavement working on a painting. As a man walked past me, he said “Have you done that?”

Do you feel social media has any influence in your artwork?

Social media is useful for making positive connections. I’ve learned about so many inspiring artists through Instagram. I’m grateful to the people who follow my accounts for their support. I’m sure I could make much better use of social media as a promotional tool; however, my approach is quite basic. I tend to post photos, and a few details, of work in progress, finished paintings and news of exhibitions and events.

Have you had any artistic blocks or challenges? And what advice would you give for artists to overcome these?

Yes, there are times when it’s challenging and when I question what I’m doing and why. I have to keep turning up at the page and doing the work. I can feel demotivated if I set over-ambitious goals that I don’t achieve. Breaking tasks, or days, down into smaller, realistic tasks gives me a sense of achievement on which I can build.

Helen will be taking part in an open studio at The Art House in Wakefield. For more information on seeing inside artists’ studios and buying selected pieces of art, check out: https://the-arthouse.org.uk/events/open-studios-5/

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