Courtauld Artists at work Archive

Courtauld Artists At Work: Chloe Le Tissier

With the opening of Artists at Work in our Drawings Gallery we thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Chloe Le Tissier, Assistant Registrar / PA to Head of Gallery and The Sunday Times Watercolour Competition 2016 winner discussing her practices.

Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

I work primarily with oil on canvas and watercolour, and sketching and drawing forms the basis of much of my work. I am inspired by my surroundings, particularly from travels, as well as everyday scenes, people, objects and beauty in nature.

Tell us about your working environment(s).

My studio is at Thames-side Studios in Woolwich where I have a lovely view of the river and north facing light which is perfect for painting.  I often work outside of my studio too, which largely came about through studying at the Royal Drawing School where courses were regularly taught out and about.  Many of the pictures in the show Artists at work are really familiar sights!

Do you work anywhere other than, or in addition to, a studio – and if so, where?

I often have a sketchbook to hand in case I can grab a few moments in the Gallery to sketch from works in the Courtauld collection. I spent a lot of time in the Goya: Witches and Old Women exhibition a couple of years ago and managed to make a sketch of each work from the album we were displaying. I love drawing and painting in other museums and galleries as well as outside; in woods, parks, on the beach and at the Zoo, anywhere that captures the imagination and is visually intriguing.  I undertake Artist Residencies too where you are completely removed from your usual location, which can be both enjoyable and challenging.

How does your working environment affect your art (if at all)?

Working outside can present certain practical limitations – the scale of the work, the medium, how much equipment you want to carry with you, whether it dries in time (especially in the British weather… I once watched a watercolour I was working on melt away as I tried to take shelter under a tree from heavy rain).

In my studio I am surrounded by my paintings, by books, materials and canvases. I have had the contents of my studio for years so it’s all very familiar and comfortable, but I also try to keep it clean and clear so that I can focus on painting.  I love having a view from my studio for the connection to the outside world.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work? 

Studying other artists and art history, seeing exhibitions and observational drawing are all really important to my practice, as is knowing when to stop on a painting, when it is finished.

How do you deal with creative block?  

Studying other artists and art history, seeing exhibitions and observational drawing! As well as sometimes just stepping back and thinking, trying not to panic and staying positive.

Thames-side Studios are having an Open Studios this weekend, 9-10 June 2018. All welcome! more info here 

 

Discover more of Chloe’s work:

www.chloeletissier.com

https://www.thames-sidestudios.co.uk/

Instagram: chloe_le_tissier

Artists at Work
The Drawings Gallery
Until 15 July 2018

Courtauld Artists at Work: Millie Nice

With the opening of Artists at Work in our Drawings Gallery we thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld.

First up we have Millie Nice who is an Educator working with our Public Programmes team.

Millie Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?

I’m an illustrator so the I use the media that responds best to the job; it can be digital, coloured pencils, markers or an enormous painted mural! But at the centre of it I just really love to draw so anything that I can make a good line with suits me. When I started I would only ever draw in pens or markers that wouldn’t allow me to hesitate or change my mind and I still tend to make work this way. It often means you have to draw something multiple times to get to the right one! I use my History of Art background a lot in my work, re-drawing objects and artworks from the past. I’m inspired by history but I like to bring in as much humour and character as I can and encourage people to laugh and have fun with artworks from the past.

Tell us about your working environment(s).

I have a small studio at home with a drawing table, a scanner and a computer; it’s very simple but I can be fairly messy so the less space I have the better! I also work from a print collective studios in south London which has been brilliant for working alongside other creatives. Being freelance and working from home is a fairly intense experience so it’s great to be able to work with other people and support each other in the ups and downs that come with making what you love.

Do you work anywhere other than, or in addition to, a studio – and if so, where?

Because I draw from museum objects and artworks a lot I often end up in museums in galleries; I will always draw from life where I can. It’s easier to absorb more of an object’s character if you sit with it for a while and I love watching other people react to the artworks in the gallery; I suppose it’s like a kind of audience research for me!

How does your working environment affect your art (if at all)?

When I was young it affected me in a very practical way; I was an art student working part-time as a museum steward and I would draw in the galleries when I was at work. I could only ever use pencils and I worked in small notebooks that I could quickly slip in my pocket and not get caught! I still carry a small notebook and pencil with  me all the time and they are mostly full of quick little ideas I might come back to or work up in the studio. Over time I realised I’d enjoyed drawing at work the most out of everything I’d created while I was studying and it taught me to love all the strange and unexpected things that happen when you’re drawing quickly on location and to appreciate all you can do with a simple pencil.

Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?

I try not to get too attached to any particular material, I like to be adaptable and I enjoy that you can make a drawing with even the simplest of tools. I feel pretty passionate about my phone as a creative tool but only because I think it’s terrible! I often have to work from photographs as reference material and it’s never as engaging as the real thing. When I first got my phone I was constantly taking photos of things I didn’t have time to draw but I never ended up going back to them. Now I operate a strict ‘sketch it or forget it’ policy!

How do you deal with creative block?

I find a good deadline sorts that out fairly quickly! If I get stuck it’s usually because I’m worrying about details so I try to make things as simply and quickly as possible. I try to give all my ideas an immediate rough try like a sketch or a small test. If an idea is weak then a quick rough is all it really needs and then I put it aside; the stronger ideas are the ones I enjoy and I want to keep working on.

Discover more of Millie’s work: 

www.millienice.com 

Twitter @millieknice
Instagram @millie.nice

Artists at Work
The Drawings Gallery
Until 15 July 2018