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Created by potrace 1.16, written by Peter Selinger 2001-2019 Created by potrace 1.16, written by Peter Selinger 2001-2019
Created by potrace 1.16, written by Peter Selinger 2001-2019

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Meet The Artist: Pie Herring

How do you feel travelling affects your painting?

I’ve always held onto that childhood desire to explore and discover. Over time this has developed into a love of meeting new people and uncovering new livelihoods. I feel energised in these moments. My painter’s brain is filled with fresh and exciting sensory information. I take in the unusual sights, sounds and smells of my surroundings and I explore through painting ways of giving tangible form to these new sensations. 

My paintings transform from place to place; in mood, palette, subject matter and material. This enables me to understand my experience and connection to any given location. Not only am I gaining an insight into the world around me, but I am able to learn more about myself in the process. 

Do you have an art studio? And how does your art change when at home as opposed to travelling?

Yes, I have a beautiful barn-like studio based on a farm near London. I find when working here I am in more of a contemplative and reflective state of mind. Whereas when I am in a foreign country, I find it all-consuming. I am constantly on the hunt for stories and information, taking in my surroundings, making works in a short space of time. I feel alive in these moments. Every day is different which requires adaptability. This means that whilst I am away, I often find myself wanting to evolve my practice in ways which aren’t possible in my situation. Therefore I use my time in the studio to reflect on these ideas, which consist of more time-consuming, large-scale projects. 

Does travelling have limitations on the materials available?

Aside from my trusted studio backpack containing all the essentials, one of the many joys about working on the move is the array of traditional and local materials I tend to pick up along the way.

I find that experimenting with these found substances often alters the direction of my work in exciting ways. For instance, when I was living in Morocco, a souk retailer spied paint splatters on my jeans. He hurried me to a shop filled with colourful raw earth pigments. When applied with water, each one had their own unique texture and consistency. I used them throughout my time there as they transformed the surface of the canvas. I still use them today and many of the pigments are now at home in my trusted backpack. 

What sparked an interest in painting portraits in different cultures?

I always felt somewhat uninspired when I was working in London. I had a wonderful studio with an amazing community of artists, but I struggled finding a clear path for my work. When I decided to go away, I felt as though my eyes were opened, I was photographing and sketching everything I saw. My paintings transformed and my knowledge of the world grew. I saw the value that a new environment can have on my work. This idea continues to propel me forward today. 

Have you got any travelling highlights?

If I had to pinpoint a special time for me it would be 2022. I had just finished an exhibition in London and decided to give up my accommodation and studio space to move to Kenya for the year. I moved to Lamu where I lived with a Kenyan friend I had previously met who ran a bar there. She kindly gave me her balcony to work on. It was an amazing time.

Later on in the year and with the help of The Milgis Trust, I went up North with a Kenyan photographer named Migwa Nthiga. We explored the Ndoto Mountains, home to the Samburu tribe. No signal, showers or beds for three weeks. It was unforgettable. In November 2022 we curated a joint exhibition in Nairobi with works inspired by our time there, benefiting The Milgis Trust with the proceeds.

What initially sparked your interest in art and at what age did you get into it? 

I was always a crafty kid. I spent my days outside making dens and building weird things. When I was older I turned an old hut into a studio space. Much to my parents displeasure I completely emptied the space and coated the walls in spray paint. The works I made here led me to gaining an art scholarship to my senior school. I continued to study at the Edinburgh College of Art and have never stopped!

How do you occupy yourself while painting?

I always have music or a podcast playing in the studio. I tend to listen to music when focusing on the overall composition or the abstract areas of the painting. These moments require consideration of the painting as a whole, so conversations in the background are too distracting. I like to listen to music with no lyrics as it helps me maintain a steady flow. On the flip side when I am fine tuning with detail I like to listen to long form podcasts, interviews etc!

How would you describe your artistic style, and has this changed over time?

I am a figurative painter, I believe my work aligns with the idea of disrupted realism. This term was created by art writer John A. Seed, and refers to a type of figurative painting that focuses on abstraction as well as realism. As time progresses, I see myself focusing more on the abstract qualities of each painting. I look to the flow of paint and the palette within and how that can generate feeling as opposed to subject matter itself.

Tell me about your creative process, do you go into your artwork with a defined plan or does it change throughout?

I tend to have a loose plan of the areas I wish to explore and the type of stories I hope to uncover. I have learnt to follow intuition and allow experiences to unfold naturally. I ask questions about the objects and people who catch my gaze. I have found that when I show my curiosity the people guide me to the right narratives.

In terms of technical approach, I work predominantly from imagery and time spent with sitters. I know who I want to paint and I very much follow the flow of the paint itself, I work it all out on the canvas.

How do you stay motivated and inspired when facing creative challenges?

I just tell myself to keep going. I know that my need to paint and create is inherent, it forms a huge part of my identity. That knowledge alone lets me know that I am on the right track. Overcoming creative blocks and challenges will only strengthen you in the end.

What advice would you give to aspiring artists who are just starting their creative journey?

I find the best advice for me is to just keep going. Follow your interests, and if you don’t know what they are, go out and find them. I also urge people to experiment and not be afraid to make errors, all the best innovations in painting are often born from accidents. Jenny Saville was cleaning her studio and accidentally hoovered one of her charcoal paintings, she loved the effect it produced and now the hoover is one of her staple studio tools!

 

Johnny Thompson

Johnny Thompson

As marketing lead, Johnny oversees blog editing, social media content and artist collaborations. His background includes paintbrush manufacturing and a degree in Business Management Practice from Leeds Beckett University

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