‘[Emma
Cameron’s] human figures emerging out of abstracted grounds of fluid
ethereal colour seem to inhabit an imaginative world of interior
mythology… There is something classical and timeless about her study of
the body, beautifully observed and defined by the suggestion of outline.
Miraculously the artist maintains all the spontaneity and freshness of a
drawing in her finished works which are full of earthly physicality and
flights of imagination in equal measure.’ ( "I
start a painting very impulsively, with sweeping areas of saturated
colour. Later there is a still, reflective phase of contemplation as I try
to allow the colours and brushstrokes to suggest the way ahead. Line, form
and texture emerge in an intuitive, organic, painterly way. There are
often wrong turnings, and I repeatedly have to be brave and erase hours of
work when I sense that something isn't sitting exactly right in a
painting. I am always surprised by the results: nothing is pre-planned. “The figures are not painted from models, sketches or photos: I need
somehow to feel my way inside the structure of the body I'm painting, to
find solidity, fluidity and a particular energy. “I
love Wivenhoe. It’s crammed with artists, writers, musicians: there’s
always someone to cheer you on if a painting’s not going well, someone
to give useful feedback, or even practical help like lending a tube of
paint when you run out! And I love just knowing, as I work in my studio,
that around the village others are working away in their studios: it’s
somehow very encouraging!” Emma
Cameron, 2007 Emma
Cameron’s maternal grandfather, Gerald Spencer Pryse, was a renowned War
Artist in the First World War (examples of his work may be seen at the
|
|||||||||||||||||||||||||
