The Artist's Road Painting the World's Beautiful Places

Voices of Experience

Alex Kelly

 
Forgiveness          22 x 22"          Oil

"My inspiration is drawn from a broad range of subjects,

with my creative process beginning with an appreciation

of the beauty in direct visual experiences.

By beauty, I refer to anything that evokes emotion,

sparks inspiration, provokes curiosity,

or simply captures my interest and invites further exploration."

   

   From studying sculpture to working in graphic design, Alex Kelly has collected knowledge and tools from a diversity of creative mediums, all influencing the oil painting he now focuses on exclusively. He cites the discovery of Richard Schmid's work and books as a pivotal point in his evolution as an artist. Kelly has written to us quite thoughtfully about the first artistic influences that sparked his creativity and has provided a step-by-step demonstration of his work titled, "Time Has Told Me". Kelly completed his formal studies in Fine Arts at Manchester Metropolitan University and in Graphic Design at New College Nottingham. Since then, he has taught yearly workshops in Gascogne, France, been featured at Realism Live and in multiple national and international publications, and has won major awards for his work, painted primarily from life, "alla prima".

Imperturbable          12 x 12"          Oil

   "I was born in Dublin, Ireland, but my family moved to England when I was an infant. I grew up in a Greater London suburb in Essex, the youngest of seven boys. My early artistic education was shaped largely by my older siblings, who introduced me to popular culture and visual art through album covers and fantasy/sci-fi illustrations by artists like Frank Frazetta, Roger Dean, and Patrick Woodroffe. Some of my brothers also had an interest in art, and we had books on Renaissance masters like Leonardo da Vinci and Caravaggio, which I became familiar with during my pre-teen years. Looking back, I realize this environment played a big role in nurturing my interest in art. I particularly admired Leonardo da Vinci as the quintessential “Renaissance man,” someone who explored both the natural world and a wide range of disciplines from art to science.

   In my early teens, I started practicing art by copying the works of these artists and experimenting with graphite drawing. I even made some initial attempts at oil painting. My formal artistic journey began when I chose A-level art at 16, focusing on still life from direct observation and working primarily with pastels. Interestingly, despite my passion, I received a below average grade for A-level art. However, my enthusiasm for art persisted, alongside a strong interest in the sciences, which led me to initially pursue a BSc in chemistry.

   While studying chemistry at university, I came to the realisation that I wanted to follow a more artistic path. I left my studies and dedicated the next four years to an art education, attending Norwich School of Art and Manchester Metropolitan University. In 1993, I graduated with a BA (Hons) in Fine Art, focusing on sculpture rather than painting. After graduation, I set up a studio and spent several years creating ceramic sculptures before retraining in graphic design at the HNC level. I worked as a graphic designer for about 15 years, while continuing to make art, mostly using digital tools during that time.

Windswept Bluff           10 x 8"          Oil

   Did you have a teacher or mentor who was a strong influence on you throughout your formal education?

   I would have to say a definite "no" to that. As students, we were mostly left to our own devices, with the exception of weekly critique sessions, which often left me more uncertain about the direction of my work. In my experience, there’s a significant disconnect between formal art education and the actual practice of painting—though others may disagree. Unpacking the reasons for this would require an essay and a history lesson, so I won’t dive into that here!

   Interestingly, my time studying graphic design has proven more valuable to me as a painter than I initially thought. The fundamentals of graphic design—organising visual information in a compelling way—are highly applicable to composition in painting. And learning digital tools like Photoshop has also proved beneficial in my artistic process.

   I've attended a few in-person workshops and classes, though mostly from lesser-known artists who haven't directly inspired my work. The real turning point for me was discovering Richard Schmid's work around 2010. His alla prima approach and focus on studying from life became a major motivation for me to follow a similar path. Schmid’s book, Alla Prima, was essentially my main ‘teacher’ for several years after that discovery. Apart from that, I've been largely self-taught, gathering knowledge from contemporary painters through online resources and video tutorials.

   Over the years, many contemporary painters have inspired me. Right now, I’m particularly drawn to Peter Brown’s large plein air street scenes. For a time, I was captivated by Tibor Nagy’s naturalistic abstraction. I also admire the brushwork and colour in Denys Gorodnychyi’s landscapes, and Torsten Wolber’s skill in using photographic reference as a foundation for experimentation. Zoey Frank’s ability to create beautiful compositions from everyday subjects is remarkable, while Kathleen Speranza’s subtle use of value and colour in her floral work is inspiring. I also greatly appreciate Laura Robb’s interplay between abstraction and representation in her still life paintings.

   After completing my fine art degree, I spent a few years working in a studio creating ceramic art, but it wasn’t financially sustainable. This led me to explore other options, and I eventually pursued further studies in graphic design. After finishing, I worked full-time as a graphic designer for various businesses for about 15 years. During that time, I continued creating art, mostly using digital tools. Initially, my graphic design training didn’t consciously influence my painting, but over the years I’ve come to recognize how the design principles of composition are very much applicable to painting.

Burnham Norton Friary en plein air          12 x 14"           Oil

   I predominantly work in the alla prima style, but it’s not my primary concern. My main focus is on working from life or direct observation, and I strongly encourage this in my students. I believe that studying nature directly is the best teacher, regardless of the painting method one eventually adopts. Alla prima is particularly well-suited for capturing transient subjects like flowers—and, to be honest, it’s just plain fun! While working over several days or weeks on a subject using indirect methods can be rewarding, completing an alla prima painting in a few hours provides a unique sense of satisfaction, even if it doesn’t always capture the subtlety of more layered approaches.

   When it comes to subjects, I’d hesitate to say that any one is always inspiring. While I tend to paint a lot of floral subjects, I don’t believe flowers are inherently inspiring. The beauty doesn’t lie in the subject itself—it’s more accurate to say that beauty is a response of the mind to certain qualities in the subject. Even something mundane or traditionally viewed as unattractive can be painted in a way that reveals its beauty, if the artist is able to discern and express those qualities.

Daffodils           12 x 10"          Oil


Sunflowers          16 x 12"          Oil

   Would you tell us a bit about your process from inspiration to final painting?

   It’s difficult to generalise, but I’ll describe how I typically approach a floral still life painted from life in the alla prima manner, which is probably what I’m best known for.

   The process begins with conception, which may be either vague or fully formed in my mind. If I can clearly envision the completed painting beforehand, the chances of success increase dramatically. That said, being open to experimentation and the unexpected is equally important. A quote from Nikolai Fechin captures my approach perfectly:

"To me, technique should be unlimited... [with] constant growth in ability and understanding. It must never be mere virtuosity but an endless accumulation of qualities and wisdom... First comes the initial idea for a work—what the artist desires to portray, to bring into concrete manifestation. In order to fulfil this task, he must begin to build, to organise."

   I work on oil-primed, unstretched canvas, which I tape to a board or wooden panel, often prepared myself. The advantage of loose canvas is that it can be cropped later if I decide to adjust the proportions. I prefer oil-primed surfaces because they’re less absorbent than acrylic gesso. Lately, I’ve been experimenting with more absorbent grounds by using a thinner oil-primed layer over gesso, but I generally avoid overly absorbent surfaces as they restrict the ability to manipulate the paint—something I value in my process.

   Once the surface is prepared, I arrange the objects, thinking about the composition, theme, and focal points, as well as deciding on the size and format of the painting. I rarely do sketches or preparatory thumbnails for alla prima work, preferring to work things out on the canvas itself. If something isn’t working, I’ll simply wipe it off and start over. Much of the preparatory work is done mentally when arranging the subject, so sketches or value studies aren’t typically necessary unless I’m planning a larger project, in which case I’d do thumbnails or digital sketches.

To Build a Home          12 x 10"          Oil

   For simpler subjects, I begin with a few drawing marks to indicate where key elements will be placed, then block in the most obvious value shapes, usually around the focal point. At this stage, my goal is to distinguish what’s in the ‘world of light’ and what falls within the ‘world of dark.’ This forms the foundation of the painting. I build up the value structure from the most obvious elements to the vaguest, establishing a framework with which I can make comparisons. At this stage, I’m primarily concerned with values (lights and darks), but I’m also aware of hue and chroma relationships. No details are added yet. By the time the value map is in place, the painting should already ‘read’ as a whole.

   Once the block-in is complete, I refine the value, hue, and chroma relationships, usually starting with the focal point, which is the main actor in the painting. By finishing this area first, I can gauge the level of finish required for the rest of the painting, allowing other areas to remain less refined. I believe this contrast adds drama to the painting. Paint is applied into and on top of the block-in, sometimes mixing directly on the support.

   Next, I develop edge relationships, softening or hardening edges based on the presence or absence of light in the subject. I do this by painting into edges or using a dry brush to soften transitions. I’m cautious not to over blend, as it can destroy hue and chroma variations. At this stage, I may also introduce a more bravura approach to the brushwork, especially in less critical areas, where abstraction can add interest and energy. For the hardest edges, I occasionally use a palette knife. Finally, I revisit the darkest darks and highlights to reinforce the overall value structure.

   The entire process demands focus and attentiveness. Working while tired or distracted often leads to mistakes, so I try to maintain a high level of concentration throughout.

The Ghosts of Saturday Night          18 x 24"          Oil

   My typical palette consists of a standard split of warm and cool primaries plus white. This usually includes:Titanium White, Cadmium Yellow Medium, Cadmium Yellow Deep, Cadmium Red, Magenta, Cobalt Blue, and Ultramarine Blue. I supplement these with some neutrals and darker transparent pigments, such as Transparent Oxide Red/Brown and Paynes Grey. Occasionally, I add other pigments like Lemon Yellow, Phthalo Green/Blue, or Rose Madder, depending on the needs of the painting. I also find a mid-tone grey, often made from leftover palette 'mud' at the end of a session, very useful.

   For painting mediums, I use a mix of Stand Oil, Walnut Alkyd, and OMS (odourless mineral spirits) with 2% Cobalt Drier. I’m not overly rigid with mediums and may adjust based on the project. For instance, when teaching in France, I often use Winsor & Newton Liquin because its fast drying time is convenient for transporting paintings after workshops.

   I mainly paint on oil-primed wooden panels (MDF or plywood), sometimes prepared with acrylic gesso first. I also work on loose canvas or canvas glued to panels, using cotton, linen, or polycotton surfaces.

   My go-to brushes are Rosemary & Co Ivories extra long flats and Eclipse Combers. When working en plein air, I clean my brushes with OMS, but in the studio, I prefer using walnut oil.

   Below is an alla prima painting showing its progress step-by-step:

   Stage 01: The subject is set up, and I'm ready to start. I prefer to position the support as close as possible to the subject, allowing me to see them together when stepping back.

   Stage 02: I begin by applying an imprimatura with very thinned pigment mixed with OMS and medium. While I sometimes make initial drawings with paint for shape placement, in this case, I focus on establishing the largest masses right away.

   Stage 03: Using a paper tissue, I remove paint in preparation for applying fresh pigment. This technique maximises chroma by revealing the white support rather than applying paint over the green underpainting. The removal also helps delineate the shapes that will follow.

   Stage 04: Here, I’ve described the general shape of the central rose with a simple light and shadow pattern, without attempting smaller details at this stage.

   Stages 05 and 06: I build one shape against another, constantly comparing them. My alla prima approach demands attention to all visual aspects—shape, value, hue, and chroma. I discern value relationships by squinting at the subject. Gradually, I complete the major shapes, ensuring they are relatively accurate in terms of shape, value, hue, and chroma.

   Stage 07: This represents the completed block-in. From here, I could take the painting in various directions. Sometimes, I intentionally partially disrupt the block-in using scrapers or brayers, introducing an element of chaos that can yield exciting, unexpected results. However, in this instance, I adopt a more methodical approach, refining the smaller shapes of light and shadow on the central rose. When teaching, I prefer to describe shapes rather than specific objects, helping to prevent the over-rendering tendency at earlier stages.

   Stage 08: I use a soft brush (Eclipse Comber) to manipulate edges, aiming for a range from hard to soft to lost. The quality of edges is not arbitrary; decisions about softness or hardness come from studying the subject closely, particularly by squinting to understand where those edges occur.

   Stage 09: At this stage, the painting is mostly complete. I often correct any drawing or shape errors by refining the forms, as I do here with the brass vase. Each brushstroke carries with it elements of shape, drawing, and colour in their three aspects. Therefore, in the later stages, as I apply finishing touches, I work more slowly, ensuring that these aspects are in proper harmony with what has already been established.The entire process involves iterative refinement. It's crucial to step back frequently to view the painting as a whole, assessing whether the visual relationships—shape, value, hue, chroma, and edges—accurately represent nature and convey the essence of what inspired me to paint the subject in the first place.

Time Has Told Me     16 x 12"     Oil on Panel

   Are you currently teaching workshops?

   I host a monthly online class through my Substack newsletter and have been teaching a week-long workshop in France for many years. You can find details about both on my website.

   Any words of wisdom you might give to beginning artists?

    I believe the key to improvement is painting quick studies from life regularly—once a week isn’t enough; aim for daily practice. You may have heard of the Strada easel challenge, which encourages painting every day for a month—commit to it! A little community spirit and a promise to yourself can make a significant difference.

   Keep it simple: choose a single object you can complete in an hour. Focus on block-ins—a successful block-in should look finished from 10 feet away. Start small in terms of both time and size. Set up a dedicated area where you can begin painting almost immediately—if you have to set up each time, it becomes an obstacle.

   You don’t need to read a lot of books, attend expensive workshops, or buy excessive art supplies—though those can be beneficial. If I had to recommend one book, it would be Richard Schmid’s Alla Prima. Ultimately, the best thing you can do is practice frequently. As you work, you’ll discover other areas you’d like to explore. I recommend this approach even if you aspire to be a plein air painter. Developing your skills in the controlled environment of the studio will provide the practical knowledge and confidence needed to tackle more challenging subjects later on.

Rider on the Storm          12 x 18"          Oil

   And, just for fun, if you could sit down and have a long conversation over dinner with an artist from the past, who would you choose, and why?

   That’s a tough one! If I had to choose, it would have to be John Singer Sargent. Not only was he a remarkable painter, known for his masterful handling of light and brushwork, but he also embodied an admirable combination of qualities that I find deeply inspiring. Sargent possessed a gentle sense of humour, which speaks to his warmth and approachability. He was modest about his talents, despite achieving great acclaim, and his dedication to his craft was evident in his relentless pursuit of excellence through skill and effort.

To see more of Alex Kelly's work,

go to:  Alex Kelly Art

All artwork copyright Alex Kelly