News — Inspiration

ABOVE: RAIN DANCE, HOLKHAM BEACH, NORFOLK

Simple imagery with a strong graphic quality draws me in. Rhythmic bands of interest broken with a vertical focal point is visual poetry to my eyes. The striping delineates and dissects the panorama. Whether wide or sinuous - it’s the dynamic of the sections that is exciting. It is the balance and harmony versus the abrasion of colours and textures that is engaging. I see the challenge as an artist, is how to make such basic inspiration intriguing - to translate the joy into something tangible through media. A lifetime of layering different materials to build and excavate has led to multiple approaches. The current fascination with pigment and wax has evolved over many years of experimenting to source a painting medium that embraced all that I needed to execute the energies within. In these natural materials I have found a voice that speaks my mother tongue.

ABOVE: NOWHERE TO HIDE, NORFOLK

ABOVE:  SERENITY, HOLKHAM BEACH, NORFOLK

I am seeking to create on the canvas, an almost reincarnation of a fleeting moment that requires an enveloping of the elements at the site. Whether a tranquil haven or a dramatic storm the immersion is aided with research: sketches, colour studies and photographic details. But the process of absorption, reflection and creation is so full of energy and dynamic interactions, between myself and the medium, that I find the best way to record my inspiration is by filming the subject matter. Just by taking video clips, the essence of a place is better transported to my studio, than through stills that freeze the energy I wish to evoke. Whilst, wishing to paint on site seems attractive, my chosen medium is very limited, as intense heat and power are critical.

In the studio it is a juggling act of controlling hot and cold - an alchemy of materials and old techniques mixed with new technologies. The materials are natural: pigments and bees wax, mixed with dammar resin to set the strokes. These are brushed, knifed, poured and rubbed onto specially sealed wooden boards, then layered and fused, layered and fused and repeated. The rhythm is broken by incising, texturising and sgraffito. The process is reactive with a strong element of serendipity tempered by intuition. I embrace the challenge and realise it will take more than a lifetime to hone any skill set.

The heated palettes provide softened creamy molten colour in tins waiting to be saturated with pigment or thinned and translucent. Mixing colours and different quantities of wax opens up endless possibilities for saturation and washes. The range of hand tools  employed is vast from fine dental steel implements to large chunky brushes made of wood and natural animal hair. Wax and pigments are fused with heat, which dries quickly, capturing brush strokes, drips and textures. Encaustic art is an all consuming very physical practice.  One is seduced by the process of not just applying paint with a brush, palette knife or hands but also the harnessing of heat to energise materials and move the liquids around. The fluidity of the process allows the materials to mix and metamorphose.

There are examples of this ancient art, practiced by the Greeks and the Egyptians, from 2000 years ago. The British Museum has examples of portraits from 100-300 AD. The Fayum encaustic pictures are still vibrant, providing an amazing historical testament to the longevity of the medium. Painted as part of the mummy casing, the deceased’s portrait was depicted fully dressed with a background around the head. A visit to see these in the flesh is at the top of my list for my next research trip to London.

 A simple story of a painting.

Sometimes it’s the simple pleasures of living in this beautiful county that bring a lingering smile, such as looking forward to the casual, yet dynamic blooming of the wild poppies in June. The impact can be just a single lost flower or the invasion of a whole field swathed in red.

 But usually it’s a graceful lacing of the field edges - red heads of delicate crepe paper petals bobbing in the breeze.

This June on a winding lane from Edgefield, near Holt, there was a particularly wonderful field of poppies - so inspiring I had to paint the view.

 Raw Luxe Collection 2020

We're delighted to announce the launch of a NEW COLLECTION of our designs - the Raw Luxe Collection. This collection offers luxurious antique and vintage textiles given the Utopia treatment to bring them into the contemporary fold.

Raw Luxe specialises in creating contemporary atmospheric interiors that exude a faded grandeur with a twist of casual chic.  The Collection celebrates the tactile and sensuous qualities of old fabrics with their natural imperfections and worn narratives. We source antique and vintage textiles that capture a palpable sense of history in their weave and drape, then mix them to create new interfaces for interior accessories - thus making enduring and unique style statements.

All the creations in the Raw Luxe Collection are one-offs, we may be able to find and make something similar that happily partners another, but none will be exactly the same.

Raw Luxe Collection: Luxury Vintage Velvet & Handwoven

Antique French Linen Cushions

Sumptuous cushions created from softly faded, vintage velvet that has been utopiaised to create unique patterns on the front face of the cushions. The velvet is 'framed' with a flange of French antique handwoven linen with a great natural slub texture. The reverse is made of the same antique fabric with a deep envelope to contain the cushion pad.

A British-made cushion pad is included in the price.

A variety of sizes are available in this design. 

Raw Luxe Collection: Embroidered Antique Linen Cushions

Little cushions created from finely embroidered vintage/antique cloths with linen envelope backs.

We love the sophisticated texture of white embroidery on white cloth and enjoy how the light plays on the surface creating shadows.

A British-made, duck feather cushion pad is included in the price.  

A variety of sizes are available.

The Best of British Design and Craftsmanship

We are passionate about harnessing traditional British trade and craft skills to make our exclusive designs, so expect: well made creations with a strong attention to detail.

Discover the unexpected and inspiring handmade antique poetry book behind Utopia: The Unexpected Gallery's 'Literati Collection' limited edition (100) lampshades, 'Open Book' design. War poet Rupert Brooke's memoir is revealed in all its deckle edged splendour.

Poetry in Motion from Utopia: The Unexpected Gallery on Vimeo.

The Winter Paint Box

As designers we seek inspiration from the world around us and living in beautiful North Norfolk provides a continual source of naturally beguiling vistas and vignettes. The muted palette of winter, with its ethereal qualities that shift and shimmer in the low light, inspire neutral hues for interior colour schemes. Embracing the gamut of grey tones revealed on misty mornings, or the tints of whites and pale greens where the frost twinkles on the garden or noticing the gentle warmth of colours radiating where the rising sun melts the frozen earth, can bring a new dimension to the season that invigorates and inspires. This blog post is about harnessing the winter paint box to generate fresh painting ideas, whilst hibernating from the winter chill.

At Utopia, we believe in responding to the seasons in our lives and in our work. So, it seemed the right time to discuss how winter is actually a really good time to be creative and nurture new ideas. Winter delivers its own special paint box for contemplation and selection and harnessing these natural hues is a time-served formula that can easily work if you want to achieve understated rooms with a timeless quality. However, so that your rooms are not bland, which is also easy trap to fall in to, we plan to share some tips with you. These are not rules, just helpful guidelines based on our research and experience.

Working with neutral colours is always popular because;

• They are easy to blend and balance
• The restrained palette is easy on the eye
• They form a calm backdrop to most furnishings and decorative accessories
• They create harmonious interiors
• They form a wonderful foil for both new and old furniture
• They deliver airy and relaxing rooms

Aiming for pale and interesting is a good place to start.

Why sample neutral paints?

There is a huge range of neutral paints in the market place with varying prices and qualities. We recommend choosing the best paint you can afford and then purchasing sample pots – this adds to the expense but it is well worth it as it enables you to buy with confidence. Most quality paint manufacturers offer good advice about choosing and using their neutral paint box, so it is always worth researching their ideas.

The golden rule is always to sample, sample, sample and live with the colours in different lighting conditions. Yes, we said rule.

Let there be light

Light is the key factor to consider when choosing any colour.

Natural and artificial light are both important. Whatever light sources you have or plan for a room, then make sure you gauge the colours with both. The easiest way to do this, and to not end up with patchwork walls, is to paint sheets of thick paper or card. Temporarily attach the sheets around the room (we use blutak) then live with the colours until you have made a decision. Move the sample sheets around making sure you try the dark corners and the light window reveals - that way you can judge the colour accurately in different light conditions. It still astonishes us the power of light over what appears the most simple colour. If the colours are not quite right, don’t compromise, try some different ones – throw in a curve ball and see if magic happens. It’s easy to cut out this stage, and we confess to having done this a few times mainly because of enthusiasm to get ‘the room done’, but it has been an expensive regret. Some companies will refund or swap unopened paint, but if you are like us you will have launched into painting and wasted a five litre can straightaway.

The neutral spectrum

Even a neutral palette has a spectrum of tints and tones to consider. The following is meant as a brief guide to understanding that a successful harmonising scheme is more likely if the selections are kept within the following subdivisions.

Warm neutral colours

Imagine a marsh where the reeds sway in the breeze– can you see a muted colours emerging? Neutrals with a warm tint are great for getting a degree of softness in a room without shouting colour. This group usually age well and compliment the warm tones of wooden furniture.

Traditional neutral colours

Picture the mellow greens of the crops under the jeweling of morning frost or the low sun casting warm shadows over sand dunes on a beach. Traditional neutrals usually contain a hint of yellow, even green in their make up and have a long history in interiors. Generally, these are easy to use, mix and match. They deliver a sophisticated scheme that is easy to accessorise.

Cool greys

The steely ethereal blues of wintery skies and seas echo the cool contemporary palette. Cool greys have blue undertones and create a more urban feel in a room. Favoured by those who desire a more industrial vibe it is a group that offers a less stark scheme than pure white. This spectrum is particularly enhanced with metal accessories and furniture.

White out

If you are attracted to an all white room, think fresh snow scene, then sample even this simple option, but make the swatches larger, so that it is easier to imagine what the room will feel like. Managing the light is paramount in a white room to maximise effectiveness and mood, and to avoid that classic cold and clinical result. Experiment. Also consider the practicalities of an all white room. If you have pets and/or children you may wish to defer this scheme until later, as nothing looks more uninviting than a grubby white room.

Drawing Conclusions

To re-tread footprints on a favourite walk, where sky and sea and earth meet and buffer, is a treat even on a windy, grey January day. The North Norfolk coastline is a sanctuary to wildlife and people – an ethereal interface that inspires and nurtures.

We surrender to the elements - embrace the gash of wind and rain and hear the roar of tide and turn.

See 37 seconds of a panoramic video of the windy walk at Cley.

What inspires artists to capture something - a stimulus that sparks an exhilarating ignition to respond. The stark winter landscapes of North Norfolk, with their strong graphic qualities, contrive a creative approach where the editing out of features is as much the artistic remit as what one includes. This challenging duality delivers sparse vistas with intricate detailing in the forms.

The Land Song Collection has emerged organically from the seasonal study of the East Anglian countryside and coastline. It aims to reflect the quiet song where a rhythmic beauty is broken by staccato: tree, farm and village. The drawings are direct responses to actual sites that can be visited through the name or grid references supplied with each print. The Collection will continue to evolve and expand as the sky’s envelope opens.

Cley Windmill

The ghost of the mill sails turn to the rhythm of the historic wind.

Burnham Norton

In Burnham Norton, marshes wrap and ooze watery ribbons of grey sky. Reeds form natural weather vanes swaying in the breeze whilst beyond the edge, where watery and aerial worlds collide: creatures dance in the interface embracing the fluctuating borders of their habitat.