{"id":289283,"date":"2015-07-16T06:00:30","date_gmt":"2015-07-16T05:00:30","guid":{"rendered":"http:\/\/www.jacksonsart.com\/blog\/?p=289283"},"modified":"2026-03-31T15:26:16","modified_gmt":"2026-03-31T14:26:16","slug":"andrew-lansley-on-lydes-farm-and-the-royal-academy-summer-exhibition","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2015\/07\/16\/andrew-lansley-on-lydes-farm-and-the-royal-academy-summer-exhibition\/","title":{"rendered":"Andrew Lansley on Lydes Farm and the Royal Academy Summer Exhibition"},"content":{"rendered":"
Andrew Lansley’s Royal Academy Summer Exhibition selected painting ‘Lydes Farm’ has a quality that has much in common with the landscapes of Edward Hopper. There’s that same eerie silence, the feeling of a calm before a storm, that minimalist handling of paint. The stillness and absence of figures evokes the feeling of a pregnant pause – something\u00a0must\u00a0<\/em>be around the corner. I asked Andrew Lansley about his work as a Bath-based artist, and what it means to be in the 2015 Royal Academy Summer Exhibition.<\/h5>\n

Lisa: Can you tell us about the work you have in this year’s Summer exhibition? What was the inspiration?<\/em><\/p>\n

Andrew: The inspiration for the Lydes Farm painting came from a left field glimpse whilst out driving. I turned the car around so I could come back and take a photo with my iPhone.<\/strong><\/p>\n

It took about 10 minutes to draw the composition out on the gesso board, which I did as soon as I got home. There was a sense of urgency because I wanted to capture the image whilst it was still fresh. The whole picture was conceived in its entirety in that initial moment, and seemed to create itself fluently from the start. I flattened and simplified the design as you can see in the final image. The painting was finished in only a couple of days, so it was pretty quick. Everything seemed to go together really simply from the first touch.<\/strong><\/p>\n

The longest passage of paint was the grass in the foreground. I painted a sequence of parallel vertical marks over the earth, which was scraped back to create a variation in the underlying texture. It’s almost like a digital pattern of noughts and ones, where the noughts are spaces and the ones are blades of grass.<\/strong><\/p>\n

When I look at the photographs I took at Lydes Farm in preparation for that painting, they actually look nothing like the way I perceived the original location. The painting is an abstraction based upon that moment. The photos are a clue, but they are really not the thing I saw. What I saw is really not like the thing that I photographed. So whilst you could say it is based upon a study of a real location, in actual fact, it is an abstraction developed from a figurative source seen in passing. It’s not something I studied for days in order to catch a likeness. The details have been stripped out and pared down. The colours have been themed in line with the seasonal context of the painting. That’s how it ended up with that low-key frosty look, but it’s nothing like the actual light and colour that was present at the time.<\/strong><\/p>\n

\"Andrew<\/a>
Andrew Lansley: ‘Salthouse Wreck’, Egg tempera, 69 x 128cm, (Currently at Twenty Twenty Gallery)<\/figcaption><\/figure>\n

Lisa: You executed the work in egg tempera – is this a medium you work with regularly? What qualities do you particularly like about egg tempera?<\/em><\/p>\n

Andrew: I first became fascinated with egg tempera when I saw a TV programme called ‘A Feeling For Paint’, which featured David Tindle. I subsequently saw his work in the 1983 RA Summer Show. It seemed to me then, as it does now, that egg tempera had a quality of luminescence that could not be imitated by any other medium.<\/strong><\/p>\n

I am drawn to the work of Samuel Palmer. He used egg and gum with raw pigment and achieved a numinous atmosphere that transcended the physical material of the picture itself.<\/strong><\/p>\n

I am influenced by photography too. I like the Americans – Sternfeld, Ruscha and Shore, but even more, I like the typological language of the D\u00fcsseldorf School – the Bechers and their descendants. <\/strong><\/p>\n

My interest lies somewhere between the mundane bare fact of the image, and it’s transcendent quality, where it speaks at once of the here and now, being complete, and at the same time being present in the unfinished ongoing moment. It was those qualities of ethereal and mundane material presence that really got my attention. I don’t know another medium that does that so eloquently.<\/strong><\/p>\n

When working with the paint itself, I am captivated by the authenticity and directness of making paint by combining egg with raw pigment – especially when I am using it as watercolour. There is a lavishness which complements the restraint of a limited palette applied from generous bowls full of colour. I would rather paint that way than use half pans or small tubes, any time.<\/strong><\/p>\n

\"Andrew<\/a>
Andrew Lansley: ‘Fortune Bay’, Watercolour and graphite, 97 x 72 cm (Shortlisted entry for The Sunday Times Watercolour Competition 2015)<\/figcaption><\/figure>\n

Lisa: Have you applied for the RA Summer exhibition before and what does getting accepted mean to you?<\/em><\/p>\n

Andrew: I submitted for the 2014 RA show and didn’t even get through the first stage of pre-selection, so I was fully prepared to flunk out again. I have had enough experience of success and rejection to know that any outcome is possible. Most importantly, I know that a whole career is not based around one success or one single failure. That said, the RA is massive for me, and once I had got through to the final stages, my blood was up and I really wanted to succeed. I knew I would have a big reaction to the outcome, whichever way it fell, but I wanted to act like I wasn’t bothered. It was a bit comic really, trying to pretend that I was going to take it in my stride, when in reality, I was fit to blow with the tension created by anticipation and not knowing. It’s no fun doing that on your own, so I am really appreciative of the friends and colleagues who are supportive in that circumstance.<\/strong><\/p>\n

Lisa: Have you seen the Summer Exhibition yourself yet and if so, did any works in particular catch your eye?<\/em><\/p>\n

Andrew: I visited twice in the first week, once on Varnishing Day and then on Buyers Day. It was surreal seeing my own work on the wall and mingling with celebs and other artists.<\/strong><\/p>\n

I really liked the works of Jock McFadyen, James Beamis, Chris Welsh and Tom Hughes. I also took great pride in seeing my work hung in the same show as David Tindle. It has been thirty years since I first stood in front of his painting and wished that one day my own egg tempera painting might hang on the same wall, never really believing that such a thing might actually happen!<\/strong><\/p>\n

Lisa: What are you working on at the moment?<\/em><\/p>\n

Andrew: I am working on mix of urban and rural landscapes and engineering and architectural objects. I can’t explain or predict where the next spark will come from, and I don’t have one fixed method for achieving an outcome. I keep my eyes open and by thinking with my hands, I aim at achieving and realising intuitive responses to the world I walk in.<\/strong><\/p>\n

Lisa: What is ‘WalkandDrawBath’? And how does it relate to your own painting practice?<\/em><\/p>\n

Andrew: Walking and drawing for me began as a way of locating myself in a new part of my career. From that time, the idea caught on and started to attract a following. I think it also coincided rather serendipitously with an upsurge of interest in urban sketching and drawing as a social activity.<\/strong><\/p>\n

A lot of people are interested in reclaiming their own drawing, which has been historically appropriated by education. Drawing, I believe, has a value and a purpose beyond academic or financial success. Drawing has this uncanny way of rooting and directly connecting a person with their present time and location.<\/strong><\/p>\n

A lot of people who I work with start out saying something like, ‘You’re going to hate me. I can’t draw to save my life – that’s what I learned at school’. Five minutes in, and the same person stops drawing, looks up and says, ‘My God, this is brilliant! I get it!’<\/strong><\/p>\n

So drawing in that context creates a stillness and presence for that person, which in many circumstances may not have been experienced since early childhood. So I guess my aim in WalkAndDraw is to facilitate that process. It’s a bit like saying to someone who has lost touch or lost faith in the possibility of their own creativity, ‘Here’s your drawing, have it back.’ I’ve read that it releases the same biochemistry as dreaming and praying or meditating. I think it also breaks down resistance to social and environmental connection. When you’re out drawing everybody wants to look and tell you their own experience of drawing – probably some time way back in their own childhood. It’s really important, I believe, to have access to drawing as a natural part of life.<\/strong><\/p>\n

The walking part is self explanatory, but here again, for some people, just the act of getting out and about with a social group, and drawing in a public place, is a real confidence builder.<\/strong><\/p>\n

\"Andrew<\/a>
Andrew Lansley: ‘Circus and Bennett Street’,\u00a029.7 x 42 cm<\/figcaption><\/figure>\n

Lisa: How would you describe your creative space?<\/em><\/p>\n

Andrew: I work outdoors as much as possible, including when I’m at home. I like to be connected with the air and the ground. Somehow being indoors produces a different kind of energy.<\/strong><\/p>\n

I work in an elevated location on the spur of a ridge. I can see for miles and the sky is massive. It’s been a real education for me to observe the changing seasons and weather from this location. You can see its influence in some of the outcomes of my work.<\/strong><\/p>\n

Lisa: What piece of advice would you give to an aspiring artist?<\/em><\/p>\n

Andrew: For me it’s all about focus – being consistent and single minded. If I’ve learnt one thing, it is that whatever you give your best attention to, that is the thing which will prosper. It’s too easy to be distracted by answering emails or attending events. It’s really important to keep your eyes fixed on the aiming point and so it’s about choice in the end. When all is stripped away, that’s the fundamental powerhouse of your creativity – I would say more than innate technical ability.<\/strong><\/p>\n

I guess I would have to add that I think it’s essential to have a good contextual grasp and critical understanding of the time in which you are working. That means being aware of the bigger journey of historic and contemporary art, but not to be distracted by what’s cool or trending. Again it’s really important to be able to do what you do without being sidetracked. Find you own voice and speak your own language. There isn’t another way if you want your work to have veracity and authority.<\/strong><\/p>\n

Lisa: Fantasy dinner party: which 3 artists would you invite? (dead or alive)<\/em><\/p>\n

Andrew: Top of the list would be Andrew Wyeth. I’ve read so much about him and by him that he has become almost like an internalised mentor. I know we would have hit it off. I love his spark and the sharp edge of his character. Next would be Edward Hopper. They were good friends and they were not too reverend about the high and mighty circles they found themselves in.<\/strong><\/p>\n

I would add John Cage to that mix. His informed yet informal way of creating, transferred brilliantly between music and visual art. He had a whole other language, but in essence was reflecting on the same subject.<\/strong><\/p>\n

I don’t know if they would put it into words over dinner, but I am sure all three were similarly committed to depicting the inner life of people, places and objects. They were all really interested in living and working and acting from their gut.<\/strong><\/p>\n

Lisa: Where online or in the flesh can we see more of your work?<\/em><\/p>\n

Andrew: Apart from the RA, I currently have an exhibition of recent works at Twenty Twenty Gallery<\/a> in Much Wenlock. It’s on until July 25th and selling well, so get there fast if you want to see it!<\/strong><\/p>\n

I have two pieces in the Russell Gallery’s Summer show<\/a>, will be exhibiting in\u00a0the\u00a0Sunday Times Watercolour Competition<\/a> and am also in the running for the RSMA Open<\/a>.<\/strong><\/p>\n

You can also find my work at the Rostra Gallery<\/a> in Bath and A2 Gallery in Wells<\/a>.<\/strong><\/p>\n

\"Andrew<\/a>
Andrew Lansley: ‘Angel Place’, Egg Tempera panel, 100 x 80cm, Rostra Gallery Prize Winner, Bath Society 2014. Also shown at New English Art Club Open 2014, Mall Galleries, London. Showing at the Russell Gallery, London from June 1st.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Andrew Lansley’s Royal Academy Summer Exhibition selected painting ‘Lydes Farm’ has a quality that has much in common with the […]<\/p>\n","protected":false},"author":4,"featured_media":289358,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[163],"tags":[1137,799],"class_list":["post-289283","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-artists","tag-andrew-lansley","tag-royal-academy-summer-exhibition"],"acf":[],"yoast_head":"\nAndrew Lansley on Lydes Farm and the Royal Academy Summer Exhibition - Jackson's Art Blog<\/title>\n<meta name=\"description\" content=\"Andrew Lansley's painting 'Lydes Farm' is in the 2015 Royal Academy Summer Exhibition. 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