Emma Haworth is the newest Bridgeman Studio artist to join our new online platform in April 2014 following an exciting first month post-launch. We are delighted to represent her for copyright administration and licensing.
Emma holds both a Master of Arts in Fine Art & Drawing Practice as well as a BA (Hons) Fine Art . She won the National Open Art Competition in 2010 as well as the Sunday Times Watercolour Competition in the same year. Emma shows with Rebecca Hossack Gallery; her most recent exhibition, 'Spring' was showing until 3rd May 2014.
See all Emma Haworth works available for licensing here.
|Mapping Hyde Park, 2011 (oil on canvas)|
Emma Haworth Interview
Emma has been kind enough to answer some of our questions, which we like to ask, nosily, on a regular basis to our new artists. We want to know what makes her tick, what Emma's inspirations are and what Emma's experience of the art world has been to date;
What is your favourite time of day to be in your studio?
My favourite time of day in the studio is the evening when there are no distractions. If I am working all day, the afternoon is usually the most productive time.
Talk us through a day in the life of Emma Haworth. What's your routine?
My routine is a bit random as I have two small children and I work from my flat. I share the childcare with my husband who is also self employed and my mum helps too which is great.
I work when I can and use my time well. Now I work from home I enjoy working late at night as I don't have to worry about getting home. Usually artist's studios are in industrial estates or big warehouses and you can get scared being the last left in the building. I used to not feel safe leaving my old studio so ended up staying there all night when there were deadlines to meet.
How would you sum up your practice in 5 words?
To sum up my practice in 5 words .....detailed, labour-intensive ( lots of hours of work have gone into each piece), thoughtful, aesthetic.
Detail and process
Seeing your work in real-life really surprised me. How do the collaged elements in your work (Emma attaches drawn people and motifs on top of her paintings) come about? Is it a way of adding depth to a painting or is there another reason behind this method?
I sometimes use collage in my watercolours. I use inks so they are brightly coloured. There is a lot of detail in each painting and so sometimes it works better practically to add the birds and people afterwards so I can work out the narrative in the setting. Things change as you work on a piece and it suits me more than to plan out everything exactly before I start.
I visit the place that I want to paint many times and each time there is of course a different look or atmosphere depending on the weather, time of day season or which animals birds or people are there . I use photographs and sketches to capture special or interesting moments each time that I visit. And in my studio I bring all the elements together trying to make it more timeless or mysterious place.
|Balloon Fiesta, 2013 (oil on linen) detail||Searching for Treasure, 2014 (oil on linen) detail||Ice Skaters, 2014 (w/c & acrylic) detail|
Your works often seem rooted in real-life, but with foreign elements added to them. This creates an almost mythical or mysterious, otherworldly quality to what at first glance, is a traditional landscape painting. How do you create these worlds?
The paintings in my last show had children and birds sometimes in pencil. I had been reading books about children and magical Gardens ('Goodnight Mister Tom' and 'The Secret Garden') . In both cases children from different eras came back to play in the gardens like ghosts. I like the fact that some of the trees and parks are hundreds of years old and have seen many animals and people come and go and enjoy the spaces. I was trying to show that in the paintings.
|Autumn Squirrels,2013 (oil on linen)|
What has been your most exciting commission to date?
I once did a commission from someone's box in Arsenal's Emirates Stadium. That was exciting as I don't go to see football much. I am doing a commission at the moment for Macmillan Cancer Support which is a two 2 metre long watercolour. This is a challenge as I have to do it on the floor and as it is very detailed and I am paranoid about damaging the part I have painted whilst working on another part.
I have it all covered with books. I want there to be lots going on as people will have to spend long periods of time in the waiting room and I want them to have something that will be interesting and engaging to look at.
Working indoors or outdoors?
Outdoors more than Indoors, I love the privacy of my studio.
Drawing or painting?
Painting is more exciting.
Which other artists, dead or alive would you choose to have dinner with?
I would love to meet David Hockney. I think he is brilliant. I love his work and I think how he talks and explains about art and painting is better than anyone.
|Yellow (oil on linen)||White, 2010 (oil on canvas)|