Louise Body

Artist studio practice and set-up 

Can you describe your studio space and how it supports your creative approach?

I have a studio in a converted roof space at the top of my house. It presents some challenges because of the sloping ceiling and limited light produced by the sky-lights but working from home allows me to be flexible and work long hours if needed.
I have adapted to working in the space by placing long trestle tables along either side of the room under the Velux windows to make the most of the light and the usable space. The floor is exposed floorboards, and the walls are white so I am not worried about paint getting everywhere. In a small space, it helps to be organised and as well as my working space, I have areas for packing materials, canvases, frames, prints and books. I have a distant view of the sea from my studio, which I love.

Do you organise your materials in a particular way to encourage flow and focus?

I have an old tea-trolley that belonged to my grandparents, which I keep all my paints on. I have this next to me when I am working - as it’s on wheels, I can move it around the studio. At the start of the day, I remove all the lids of my paint pots so that I can easily and quickly access the paint whilst I’m working. I have a large sheet of glass on my trestle table that I use as a palette. I also have two large buckets of water next to me; one is for cleaning most of the paint off a brush the other is for leaving the brushes in. I change the water and properly clean the brushes every couple of days.

How important is light in your workspace, and how do you make the most of it?

I make the most of the light in my studio by placing my work trestles underneath the skylights. I also have a couple of studio lights on tripods that I can move around, which is especially important in the winter when natural light is limited.

Welcome Home, acrylic on canvas, 31½x31½in (80x80cm)

Do you work to a structured routine, or does your studio time change depending on your energy and commitments?

Because my art practice is full-time, I am in the studio every day, and I treat it like going to work. If I have an exhibition deadline, then I can sometimes be in the studio seven days a week. This has recently become easier now that my kids are older and independent.

Seeing the Unseen, acrylic on canvas, 39¼x39¼in (100x100cm)

About Louise Body

Louise graduated in Fine Art from Nottingham University in 1996 before moving into design, founding her own wallpaper and textile company in 2003. Her work led to collaborations and a permanent V&A Museum collection. In 2020, she returned to painting full-time, exhibiting in solo and group shows. Louise’s art features in global private collections, magazines, and retail print ranges, and she recently worked with Penguin Publishing for the cover of Ian McEwan’s latest novel. 
Find out more on her website.