Newlyn School of Art The Professional Landscape Artist Programme

Last Summer I decided to apply for the year long Professional Landscape Artists’ Programme at the Newlyn School of Art. I felt that decades of exploring whatever had interested me had left me with no identifiable subject or style. My hope was that the course would help me to discover this.

I was accepted onto the programme, but had no idea how much the course was to change my practice or my work.

The ‘course’ isn’t a course as such. No skills or techniques are taught or practised. It has much more to do with the role of landscape in art, how different artists approach and achieve this and a lot of reflection on your own and others’ practice.

Knowledgeable and experienced lead tutors provide a comprehensive and professional programme that covers everything from sketchbook practice through to exhibition and sale of completed work. Alongside the lead tutors, a number of established artists discuss their own work and philosophies and share (often quite frank) critiques of your work. We were asked in the selection process whether we’d cope with such open appraisals. For me critiques are like so much in art, a matter of opinion. That’s not to dismiss them, after all they come from successful artists with a wealth of experience, but for every viewpoints, someone will have another. My experience has been positive. Tutors, guest tutors and peers have seen my work, understood what I am trying to achieve, not always agreed with the way I’ve gone about it, but have always been respectful of my integrity and supportive of the way forward.

On the 'course' I have laughed and cried and built relationships with landscape artists working in different media from across the British Isles. They work in different media and in completely different ways, but are all serious about their art and diligent in their process. They are my tribe and I love each and every one of them. We are now just over halfway through the year, but I know already that I’m going to miss our bimonthly weekends together.

Really questioning what’s important to me about my art has confirmed why I make it. It’s not about income or social media likes, it’s about authenticity. I hope my work offers questions (and sometimes answers) and that it engages. Whether in a gallery for all to see or in the middle of a forest, where no-one ever will, it’s just important that it’s there, doing its thing, vibrating love and making the world a better place.

Such in-depth scrutiny has also caused a change in artistic direction that I’d never have anticipated.