Background and Inspiration:
Could you share your journey into the art world? What led you to pursue painting, especially as a self-taught artist?

I discovered art by accident whilst studying Architecture at Brighton University.

I realised I was more interest in painting the skies, the backgrounds, the landscapes, and the scenery, than I was the buildings and the man made bits !

I found art was something that I could do in the evenings, that I could enjoy and practise myself. I liked problem solving and working out how to do things, so ‘art’ become something I could look at and try to learn how todo… Training as an Architect made me very measured and tight. Learning to be more creative and relax, in art, is now my life long endeavour; and one which I want to share will all the people I help teach and tutor.

Growing up and residing in Norfolk, how has the East Anglian landscape influenced your artistic vision and choice of subjects?

As I have got older I have realised how lucky I was to be able to experience the vast skies seen above the Norfolk coastline, as I grew up. Seeing how artists tried to paint and capture the views inspired me to want to try to do the same. Architecture helps one see and understand perspective, looking at the massive panoramas makes you feel it too!

Artistic Process and Techniques:
Your paintings often depict the expansive skies and coastal scenes of Norfolk and Suffolk. Could you elaborate on your approach to capturing these vast landscapes on large canvases?

I sometimes feel the best way to honour and respect the big skies is to capture them in ‘as bigger way’ as you can. For me this simply meant to use the biggest canvases I can get (in the boot of the car).
Colour, tone and contrast can be caught using smaller pictures, paintings, sketches and photos, but using larger formats can help you convey the scale. This large scale seen on a large canvas is what inspires me, making me understand how small I am.

Southwold Beach, Early Evening light. Acrylic on canvas 120x100cm.

How do you decide between using oil or acrylic for a particular piece? What factors influence your choice of medium?

I tend to use acrylic on the larger works, in the studio. I like this product as it can be built up quickly in thin layers, which I feel is particularly good at capturing a large sky with the subtle changes of tone in the colours that you see radiate through the layers.

I feel oil can create better texture, impression, expression and feeling. For me oil can capture a moment. Sometimes oil colours depth can’t be reproduced in any other medium, this I why I love painting small scale in plein air in oil; sometimes oil just can’t be beaten.

Plein Air Painting:
You frequently paint en plein air to immerse yourself in the environment. How does this practice impact the authenticity and emotion conveyed in your work?

Plein air painting allows you to be immersed in the scene and the environment you are working in, it allows you to feel the temperature, the air on the skin, the noises, smells, sounds and tastes. It can be the purest way to allow the senses to engage with your work. With plein air you must forget the product, the result ,and enjoy the doing, the creation. Plein air is about being there and experiencing it. Plein air grounds you in the scene, the intimacy of the environment, which is the best way to remember something, a time, a place, an experience.

Can you share any memorable experiences or challenges you've encountered while painting outdoors?

Ironically some of the most memorable experiences I have had whilst painting plein air have been about people, meeting people and seeing the life around you. Whilst painting in the urban environment you are found by the people that live in it, the workers, the passers- by and the loners and people off the grid. It can be very enlighten and can be a privilege.

Example of Tom's sketching

Exhibitions and Collaborations:
As the Honorary Secretary of the East Anglian Group of Marine Artists (EAGMA), how has this role influenced your work and perspective on marine art?

As the Hon Sec of EAGMA I realised how many talented and wonderful, kind, people there are that just want to paint, draw and sketch the wonderful coast we all share. EAGMA and other groups do so much to hep protect and promote the traditions of painting and they help show and educate others as to what one person can do, as an artist.

Blakeney afternoon, late summer. Acrylic on block canvas. 150x120cm.

Your participation in events like Paint Out Norwich has garnered recognition. How have these experiences contributed to your artistic development?

Whilst painting with Paint Out I met so many inspiring people, both amateur and professional that have encouraged me to paint more and not be frightened of painting plein air, which can be quite intimidating at times! It was great to see people working together and just enjoying it; being part of it. Paint Out is a great movement. Please look them up and join in.

Evolution and Future Endeavours:
Over your 25-year career, how has your style evolved? Are there new themes or subjects you're currently exploring?

Over 25 years that I have painted, I have always tried to develop more freedom and openness in my work. I have hoped to try to capture the feeling more, rather than just then composition of the scene. Art should be about freedom, so I try to engage with this freedom, once in actually doing the work, getting into the flow of the work. Then once again when the work is completed, I hope the picture allows the viewer to feel the freedom of the landscape and allows them to be in there! 

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What upcoming projects or exhibitions can we anticipate from you?

I concentrate more now on teaching. I teach mostly in restricted (secure) establishments, such as the NHS and HMP, working mainly with forensic and psychiatric patients, the neurodiverse community and those with learning difficulties. Here freedom and process is so important, this is where engagement and getting into the artistic flow can allow liberty and power.

Example of Tom's sketching

Advice for Aspiring Artists:
What guidance would you offer to emerging artists, particularly those interested in landscape and seascape painting?

I still like to tutor individuals and groups too. Sometimes studio based but hopefully more of the time outdoors. It is always great to see people come to a rural spot and let go and enjoy the experience of being outside and painting what they see. You have to help students to balance accuracy with reaction, gut feeling with realism. You have to capture the essence of a place and let the viewer fill the blanks.

If I was to take a landscape or seascape student for one lesson, I ask them look and get engrossed in what they are seeing. Spend time at a place, walk around it, look at it from different angles, make sense of how it fits together. Look at nature, the wind and the weather. Stop and take time. Don’t rush. Take your time before you make your mark.
The second lesson would be about perspective ! That would that would be the boring part.

But combine atmosphere and a basic understating of perspective and drafting and then learn to take you time, then you have the ingredients to produce wonderful work; this is in us all, it is not a natural ability that counts is the ability to try that is important.

Cloud lifting, Big Sur. Acrylic on Block canvas. 100x80cm

How do you navigate the balance between commercial success and personal artistic fulfilment?

I balance my painting time, the commissions and commercial work I do with teaching, especially those that have less privilege than most.

Being able to teach and help others is what inspires me. Being successful is perhaps just lucky and can be fleeting. Helping others to start art, improve their skills and develop their work is hard work but can be great fun too and is rewarding.

What I love about art is that we can all do it, give it ago, it is a great skill to learn, and it is always time well spent.
Art is a basis of communication, it is one of the oldest way to communicate, tell a story, worship a deity or just record what you have seen. Whether just drawing a stick man, making a doodle or painting a 2 meter wide seascape… we are all artists, doing our stuff and that is a great leveller; a wonderful grounding to have.

For more information about Tom's work, to enquire about works for sale or courses click here.