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Rebecca Campbell

Rebecca shares her thoughts about joining Bridgeman Studio below as well as allowing us to delve into the motivation behind her uniquely British and quirky imagery.

'Who knew that a South Korean company would want an English artist's images for their corporate calendar, or an American publisher for a series of book jackets? What's great about being with the Bridgeman Images is this has happened with my work. The fact that they have managed the whole thing including negotiating the contracts, payments etc is even better! Their staff have always been very helpful and accessible. I'm delighted to be one of the founding artists of the Bridgeman Studio.'

Hawk Eye, 2012-13 (oil on linen) The Good Life, 2012-13 (oil on linen)
Hawk Eye, 2012 (oil on linen) The Good Life, 2012 (oil on linen)

 

What is your earliest memory of an artwork and who was it by?

Giotto, St Francis Preaching to the Birds. I instantly fell in love with this painting. Maybe because of its simplicity in composition and of course the birds.

 

What is your favourite time of day to be in the studio?

The end of the day, I work in a studios with other artists around which I love but I do like the peace after they have left, I can carry on painting without being interrupted by phone, emails etc. There is a calmness then.

 

Talk us through a day in the life of Rebecca Campbell. What’s your routine?

The joy of being self employed is that there is no routine. Having said that I do get up around 7 and run around Clapham Common every second day, sometimes like a gazelle other times like a slug! After breakfasting and doing emails I head off the studio, an 8 minute cycle ride. Bliss in the summer but can be miserable in the winter.

At the moment I’m working towards a solo show with Jonathan Cooper, London in September. It takes me 6 months to do the work. The theme is Bewitched, Bedazzled, Bewildered. It is about my travels and experiences of India. Each day is taken up with painting as I have to produce 24. I’m my own worst enemy making more and more detailed paintings on a larger scale still using a tiny brush!

What is great about being in my studios is that there are about 40 of us here, all doing very different things. Some of us break for lunch at about 1pm. It is a solitary existence being an artist so it is a joy to know other people are around. I usually work through to about 7pm. The day may also include visits to the photographer, gallery or framer. I also do commissions so do meet clients.

I usually meet up with friends in the evenings for drinks or dinner, quite often at the Chelsea Arts Club. Otherwise I go to private views, cinema or just crash on my sofa watching rubbish!

 

How would you sum up your practice in 5 words?

Nature, colour, detail, humour, naïve.

 

What has your experience of art education in the UK been? Do you think that attending art school in necessary in 2014?

I LOVED art school, it really was four years of heaven doing what I wanted to do and have the best tutors around. The only downer was that they didn’t prepare you at all for the real world and I certainly crashed after I left. Maybe they just couldn’t tell you how hard it was going to be.

I feel very out of touch with art schools as it was a long time ago when I went. I do however feel very concerned hearing that students are really left to their own devices and might only see a tutor once or twice a term. So is it necessary to go? I still think yes as it gives you the time to explore different possibilities and find your own way.

 

Surprised (oil on linen) The Butterfly Collector, 2012-13 (oil on linen)
Surprised (oil on linen) The Butterfly Collector, 2012 (oil on linen)

 

Your practice is heavily influenced by the countryside and nature. How do you balance this with you studio being located in deeply-urban south London?

This is surprising I know! I grew up in the Irish countryside and I guess that has stayed with me. I’m lucky as my studio looks out on to a park with lots of lovely trees and birds.

I have quite a few friends who live in the country so can escape the city to see them. I also do a fair bit of travelling and love walking holidays. I will be walking from the centre to the coast of Sicily in April.

 

What has your most exciting commission been to date?

I received an email 18 months ago saying they had a proposition for me! It transpired the sender lived in Delhi and was coming to London the following week. We duly met up and what came about was utterly amazing. A few months later I stayed with them for two weeks at their beautiful house in Delhi. They were so incredibly hospitable including showing me Delhi, a three day trip to the Taj Mahal and Jaipur and a weekend in Kolkata.

They have now commissioned a series of paintings, the subject is my take on India, what a dream job!

 

What did you spend your first art-sale pay check on and how did you feel?!

I was elated, it was my first solo show with Jonthan Cooper and the show practically sold out before the private view. I bought a airplane ticket to China and spent 6 weeks travelling around there.

 

Camera or Canvas?

Canvas

 

Oil or Acrylic?

Oil

 

Which other artists, dead or alive would you choose to have dinner with?

Tricky question as I think I’d feel out of my depth but how amazing would it be to have Leonardo da Vinci and Damien Hirst, I’d love to hear Hirst describe the art world to da Vinci. Others would be Rousseau, Matisse, Picasso, Giotto, Rivera, Kahlo and Hockney.

 

What brought you to Bridgeman for the licensing of your artwork?

Jonathan Cooper suggested it, he owns the gallery I show with.

 

See all Rebecca Campbell images available for licensing

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