{"id":1392368,"date":"2019-02-19T14:14:03","date_gmt":"2019-02-19T14:14:03","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1392368"},"modified":"2020-01-23T15:50:07","modified_gmt":"2020-01-23T15:50:07","slug":"watercolour-bird-artists-in-conversation-exhibition","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2019\/02\/19\/watercolour-bird-artists-in-conversation-exhibition\/","title":{"rendered":"Watercolour Bird artists in conversation on their upcoming exhibition Feathered Friends"},"content":{"rendered":"

John Horton<\/a> and Christina Hopkinso<\/a>n are two watercolour painters who are exhibiting together for the first time at The Granary Art Gallery, which is set in the grounds of Weston Park. Both artists are keen bird admirers, and \u2018Our Feathered Friends\u2019 will be a show celebrating the beautiful birds that they have been fortunate enough to have encountered on their travels near and far. Both artists chat about what inspired them to start painting, why they paint birds and their thoughts that lie behind the creative process. <\/big><\/p>\n

\n

Bird Artists Christina Hopkinson and John Horton in Conversation<\/h2>\n

Christina: John, I remember meeting you at Frodsham at the AAA, (Assoc. Animal Artists) Spring exhibition and event weekend in, I think, 2016.<\/p>\n

John: That\u2019s right, we were standing in front of your award-winning picture at the time and started chatting<\/p>\n

Christina: The Nandays Parakeets<\/p>\n

\"Nandays
Christina Hopkinson, Nandays Parakeets – This Is A Private Conversation<\/em> Watercolour Painting 21 x 29<\/figcaption><\/figure>\n

John: Yes it was a beautiful piece of work and I remember being very impressed with it.<\/p>\n

Christina: Thank you<\/p>\n

John: We started chatting and it went from there. I remember talking about the AAA and TWASI – The Wildlife Art Society International, and that sparked your interest and you went on to join that. In fact I think you went on to have the first sale at the TWASI Hanbury Hall exhibition.<\/p>\n

Christina: That was the Nuthatch In The Ivy painting. It seems like it was only yesterday that we met, but I can\u2019t believe it was two or three years ago, or thereabouts.<\/p>\n

\"Christina
Christina Hopkinson, Nuthatch In The Ivy<\/em><\/figcaption><\/figure>\n

John: So how did you get into art? Did you start at school?<\/p>\n

Christina: Well I have a memory going back to nursery school, of making a picture using poster paint, and folding the paper in half to give a symmetrical pattern, and I think that was my earliest memory of using colour to create something exciting from paint and paper. I was very young and it\u2019s going back an awful long time. After that I had a brother who was very good indeed at art, and he used to paint most evenings in his bedroom. I was a lot younger than him, and I remember that I would knock on his door and ask if I could sit with him. We used to listen to music whilst he was painting with oil paint, and so he inspired me to look at art more seriously. I was about twelve by the time that I acquired some oil paints of my own, and I had a book about an art dealer called Duveen, which contained a lot of photographs of paintings by artists such as Thomas Gainsborough. I used to try to copy those. I had no idea then that you needed special paper or canvas etc. to paint on with oil paint, and I used ordinary cartridge paper, but amazingly I still have those paintings somewhere, and the paper survived. So I have to credit my brother Terry.<\/p>\n

John: To give you the inspiration.<\/p>\n

Christina: Absolutely.. to have given me that excitement about painting and drawing and I just wanted to acknowledge the part he played in giving me that love of painting and art.<\/p>\n

John: I have a similar memory in that my uncle was a lovely watercolourist. He was my father\u2019s youngest brother…quite a bit younger, and he died only about four years ago, and I inherited all of his art books and a lot of brushes. In fact, I was relating the story to my daughter recently, about how I was with my grandmother, (my uncle was living with her at the time), and I had made a painting of a barn owl. I must have been eleven or twelve at the time. My uncle came back from work and he painted his version of it and it was lovely to see him work. He was a lovely watercolourist and latterly we had joint watercolour exhibitions together. I got so many tips from him and my father had a pal who was in the forces during the war and he was a lovely watercolourist who gave me a lot of encouragement. I\u2019ve always had a passion for birds though, right from the word go and I would buy the RSPB Christmas cards designed by Tunnicliffe, and so everybody had bird Christmas cards. Tunnicliffe is a great hero of mine as is Peter Scott.<\/p>\n

\"John
John Horton, Fledgling Wren <\/em><\/figcaption><\/figure>\n

Christina: Yes Peter Scott! The reason I got into birds is because they were right outside the door, and I couldn\u2019t go off trekking to Tanzania or anywhere like that to look at other things, so I had to think of what was around me that I could actually observe and reference from life, and it was the garden birds, and that\u2019s what started me really watching them, looking at their little traits and the family interaction and so on. So I thought yes, they are right there, because I didn\u2019t want to be someone who just copied photographs.<\/p>\n

John: That\u2019s right. I think that\u2019s where we are very similar in that respect, that we both love to draw from what we are actually seeing in front of us. That\u2019s the nice thing about birds in that there is a little bit of natural history theatre going on in front of you all the time. The interaction between the different breeds is fascinating.<\/p>\n

Christina: I quite agree. I just think they can be so amusing, but it\u2019s a real case of survival out there for them isn\u2019t it?<\/p>\n

John: Absolutely.<\/p>\n

\"John
John Horton, Dozing Dipper<\/em><\/figcaption><\/figure>\n

Christina: If you think of the cold for a start. These little birds have to survive in this cold weather, whereas you and I wouldn\u2019t cope with it very well.<\/p>\n

John: In our comfortable houses…that\u2019s right. I\u2019m an obsessive bird feeder and it\u2019s a good feeling that you are giving them that fuel to get through the night.<\/p>\n

Christina: We had a lovely tame robin a couple of years ago, and he would sit on your hand to take the food..that was a real thrill. The robins we have now are a little more wary, but the one two years ago was a friendly little thing…not to other robins though.<\/p>\n

\"Christina
Christina Hopkinson, Pied Wagtail at Lake Vyrnw<\/em>, watercolour, 14″x21″<\/figcaption><\/figure>\n

John: Yes they are very aggressive, and what people don\u2019t realise is that they migrate, and all these blackbirds that we are getting in the garden right now have probably come from Scandinavia and Northern Europe, and the ones that have been with us through the winter have all moved south.<\/p>\n

Christina: We\u2019ve had some, and it\u2019s been really useful, because they\u2019ve got some white feathers. One has a white tail feather and the other has some white feathers on its back, and they act like a marker and you can tell which birds you are seeing and it\u2019s interesting to see where they go in the garden and what they get up to.<\/p>\n

\"Christina
Christina Hopkinson, Chiff Chaff in the garden<\/figcaption><\/figure>\n

Christina: Regarding your art, who inspires you?<\/p>\n

John: I think the great thing about belonging to societies is that you see so much work by very talented artists around you and I think you almost subliminally gain inspiration. Initially though I was always inspired by Tunnicliffe…he\u2019s my great hero, particularly his sketching. I love his sketching and I have all of his sketchbook works. I draw a lot of my inspiration from that, but there\u2019s also Peter Scott. Nowadays there are artists like David Miller<\/a> who is mostly known for his fish paintings, but I particularly like his bird pictures and I realise that I am inspired by David\u2019s work.<\/p>\n

Christina: I think I follow him of Facebook actually! He\u2019s brilliant, I love his work.<\/p>\n

John: I go fishing and he designed the images on the fishing license as well as on some stamps.<\/p>\n

\"David
David Miller, Grey Mullet II <\/em>, oil on board, 24 x 28 inches<\/a><\/figcaption><\/figure>\n

Christina: I love his underwater images. I also really like the work of Robert Bateman and have quite a few of his books. I was looking on Amazon to see if there were any books on bird artists in general, and in the reviews section of one book, someone said that the best bird artist in their opinion was a man called William T Cooper, so of course I did a Google search and found that he was an Australian artist.<\/p>\n

John: Is he the one that David Attenborough mentioned in the Birds of Paradise book?<\/p>\n

Christina: Yes. I think he lived in Queensland, and sadly died a few years ago. I found out more about his work and fell in love with it. I discovered that a lady called Sarah Scragg who is a film maker, visited him and made a DVD called Birdman. It\u2019s about him and his working process and shows him going into his garden which backs onto rainforest, where he gathers twigs and branches and so on, to use as reference material for his paintings. It\u2019s really interesting and I\u2019d recommend it. His books now are really expensive to buy. The other artist I follow is John Muir Laws who has written a book called Laws Guide To Drawing Birds, and that was very helpful to me when I first started drawing birds.<\/p>\n

\"Lars
Lars Jonssen, Bullfinches in the Winter<\/em>, Watercolour 2017, 36 x 48 cm<\/a><\/figcaption><\/figure>\n

John: I love the work of Lars Jonssen too. His work is absolutely superb. I have a couple of his books.<\/p>\n

Christina: He\u2019s painted the arctic birds hasn\u2019t he.<\/p>\n

John: That\u2019s right.. the freedom of his style is what I love…it\u2019s so loose. It\u2019s what I like about your style, the looseness.<\/p>\n

\"Christina
Christina Hopkinson, Golden Slumbers<\/em>, watercolour on Bockingford CP watercolour board, 15 x 22<\/figcaption><\/figure>\n

Christina: That\u2019s what I love about watercolour in that it gives you the freedom to do that.<\/p>\n

John: It\u2019s what I say to my students, don\u2019t scrub at the work, just let it flow, let the medium work for you and let the water take the colour.<\/p>\n

Christina: I think that\u2019s what I found so difficult in the beginning having worked in oils before. Letting go of the desire to control everything. It\u2019s taken me until now to have that confidence to put the paint in the water and leave it alone to let it do its thing.<\/p>\n

John: I\u2019m telling my students all the time, more than anything else, to leave it and not touch it whatever you do. Resist the temptation to go back in with a brush and fiddle with it.<\/p>\n

Christina: I still fight with that now…I still fight with it. I think oh I\u2019ll just do a little bit more and the more I do, the better it\u2019ll be. And it\u2019s not! The more you do, the worse it gets. I\u2019m with you there completely. What about the need to surround yourself with positivity? I remember someone who said to me that her husband said she couldn\u2019t paint and that what she did wasn\u2019t very good, so I said stop showing him because, especially in the beginning, you need encouragement and creative comments. I find that I get positivity from being a member of the organisations I\u2019m a member of.<\/p>\n

\"John
John Horton Golden Plover – Summer glory<\/em> Golden plover in full summer plumage. Unframed oil- 41 x 30 cms.<\/figcaption><\/figure>\n

John: Also from exhibiting work, you often get good positive feedback. The great part is when you connect with someone viewing your work, you create a link with them straight away, and that\u2019s why we do it. It\u2019s presenting our feelings and our passion for the birds and the medium and the painting. It\u2019s very heartwarming I always find and it just inspires you to do more.<\/p>\n

Christina: You need any critique of your work to be positive.<\/p>\n

John: That\u2019s right, with the TWASI weekend we have critiques and we have top flight professional artists who offer a critique which then develops into a discussion, and I find with the many years I\u2019ve listened to those, I\u2019ve found it incredibly helpful. Not only the constructive criticism of your work, but also that of other artists work, and what comes out of the discussion as well.<\/p>\n

Christina: When painting, what do you try to achieve in terms of for example, colour and light?<\/p>\n

John: A painting succeeds if it has light in it. I think that\u2019s the most important element then the shadows and contrast with the light all come together to make a painting live. If you haven\u2019t got that, then the picture\u2019s going to fail.<\/p>\n

Christina: I\u2019d agree entirely with you. That\u2019s what I like to achieve, and I also strive to use drama with the use of lighting. I admire the work of Caravaggio and his use of contra jour. I received a Highly Commended for a painting called, \u2018There Is Always One\u2019 which I had in the AAA\u2019s Spring exhibition in 2018, and in that I endeavoured to introduce a narrative and use a dramatic effect with a strong light and dark contrast, and that seemed to have worked.<\/p>\n

\"Christina
Christina Hopkinson, There Is Always One<\/em>, watercolour, (21\u201dx29\u201d)<\/figcaption><\/figure>\n

John: I was challenged to paint an abstract at TWASI. I\u2019d been on an avocet cruise on the Exe estuary and a huge flock of avocets, probably three or four hundred strong, took off and there was this dramatic black and white, so I used that as the basis for my abstract. It was just loosely painted black and white shapes. Nothing was connected, it was just black and white shapes against a strip of sky beach sky and sea, but it had a lot of drama and the black and white of the birds really impressed me, so it was very interesting to use it as an abstract.<\/p>\n

\"A
John Horton, A Winter Flocking <\/em>, watercolour<\/figcaption><\/figure>\n

Christina: Yes, it takes you out of your comfort zone as well that kind of a challenge.<\/p>\n

John: It was a very challenging piece to do and also it developed movement. It was very well received and in fact it was accepted into the David Shepherd Wildlife Art exhibition and it went into the portfolio there so it was very gratifying.<\/p>\n

Christina: You only get that spontaneity by working from life don\u2019t you?<\/p>\n

John: That\u2019s right, and also taking a flat piece of paper and giving it depth and creating a three dimensional feel to it.<\/p>\n

Christina: Is there anything you feel you want to improve on in your work?<\/p>\n

John: I think you\u2019re always striving. People ask \u2018what\u2019s your favourite painting?\u2019, and I would say it\u2019s always the next one you\u2019re going to do. It\u2019s endless, are you ever satisfied with what you do? I would say probably not. It\u2019s an infinite quest I think.<\/p>\n

\"Christina
Christina Hopkinson, The Last Lemon 2 <\/em>, watercolour, (21\u201dx29\u201d)<\/figcaption><\/figure>\n

Christina: I think if you ever feel you\u2019ve approached that state, then it\u2019s time to give up isn\u2019t it? If you think what you\u2019ve just done is perfect, then anything you do later is never going to live up to that. It\u2019s why I\u2019ve been on a bit of a rollercoaster ride with producing work for this exhibition, it\u2019s because I keep thinking that I\u2019ll do another one, then I\u2019ll do another one, because the next one is going to be better, and it\u2019s never ending, but it also drives you on. I would really like to get to grips with birds in the landscape, especially with the Florida birds that I paint.<\/p>\n

John: People associate me with birds in the landscape, and it\u2019s always the greatest compliment when people say that they feel they can walk into the picture. I feel I\u2019ve achieved something.<\/p>\n

\"John
John Horton, Avocets preening<\/em> Painted from a field sketch at RSPB Minsmere Framed size- 67 x 100 cms<\/figcaption><\/figure>\n
\n

About the artists:<\/h2>\n
\"Christina
Christina Hopkinson, Black Bellied Whistling Ducks 2<\/em> – Myakka Florida<\/figcaption><\/figure>\n

Christina Hopkinson is a member of The Association of Animal Artists, The Wildlife Art Society International and is an Associate member of The Guild Society of Artists, (part of the Fine Art Trade Guild). You can view more of Christina\u2019s work on her website here<\/a>.<\/p>\n

John Horton is an honorary fellow and long-standing committee member of The Wildlife Art Society International. John also runs workshops from his studio in Worcestershire and you can find details of his classes on his website here<\/a>.<\/p>\n

To find out more about the organisations Christina and John are involved in, please visit the following websites. www.twasi.com<\/a> www.associationofanimalartists.com<\/a> www.fineart.co.uk<\/a><\/p>\n

\n

About the exhibition:<\/h2>\n

\"Press<\/p>\n

\u2018Our Feathered Friends\u2019 – an exhibition of watercolour paintings by Christina Hopkinson and John Horton.<\/p>\n

Where: <\/strong>The Granary Art Gallery, Weston Park, TF11 8LE<\/p>\n

When: <\/strong>2nd March to 31st March 2019<\/p>\n

The gallery is open daily from 11am – 4pm and admission is free. There is a cafe and a restaurant on site, and facilities for the disabled.<\/p>\n

Please visit www.weston-park.com<\/a> for further details and more information.<\/h3>\n
\n

To find out about other exhibitions that are on currently please visit our artist calendar<\/a> or to read more on exhibitions and events visit our What’s On page.<\/a><\/h3>\n
\n

The top image is Christina Hopkinson, The Last Lemon 2 <\/em>, watercolour, (21\u201dx29\u201d)<\/p>\n

\n

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