An excerpt from artist Tina Spratt’s interview with Lucky Compiler:
Tina Spratt’s brush seems to have an uncanny ability of understanding the ways of human heart. For it traces every sensations of it and then reveals them on canvas through the characters seated in deep introspection, sometimes beside a half open window at other times beside a stream. The artist from Somerset, England, skilfully uses light for her visual narrative. Thus in the warm glow of sunshine or in the timidity of shadows her art leaves enough hints for the audience to draw their own conclusions.
Growing up how did your environment contribute toward the development of the artist and the human being in you? How early were you introduced into the world of Renaissance and Dutch Golden Age paintings?
I grew up in very loving and supportive family and from a very young age I was encouraged and given the freedom to explore my creativity. One of my earliest childhood memories, at the age of six, was when my drawing was pinned to the wall at school and I felt extremely proud, it has become an obsession and passion ever since.
There weren’t any artists in my immediate family, apart from my sister and I who both pursued a career in art, although I have been told my grandfather was very talented. The first time I remember seeing a Rembrandt painting I must have been around 14 years old and on a school trip, ‘Self portrait at the age of 34.’ I thought it was the most amazing painting I had ever seen, I could not believe the effect of light he had captured with paint, and how he had manipulated paint to create such depth. The effect of light on a figure became a constant theme in my own work.
‘’Tis in ourselves that we are thus or thus. Our bodies are our gardens to which our wills are gardeners.’ — As an artist who exclusively deals with human body and emotions for her work everyday, how do you associate with these words from Othello? Describe your sensations as your painting develops in perfect sync with your imagination.
Painting can be the most amazing thing in the world, I love the early stages that are full of possibility and excitement as I’m trying to get what I imagine out onto canvas. It can also feel like a battle or struggle, as inevitably this happens at some stage during the painting process. I paint in many layers over several weeks so quite often as a painting is drawing near to being finished, I become overly critical. I do know that if I’m not emotionally connected with the painting, then it won’t be in the painting either, it really is a mirror of how you are feeling as an artist.
Image Courtesy: The Artist