Hannah Benkwitz-Friar

Do you have a dedicated studio space, or do you adapt different spaces depending on what you’re working on?
I have a studio that acts as a kind of controlled environment where I can translate the chaos of being outdoors into a finished painting. It’s full of my plein air studies and inspiration, little notes and reminders of light I’m still trying to understand. Although I always seem to gravitate back to my kitchen table, it’s the heart of the family home, full of natural light and the gentle hubbub of everyday life. The energy there, especially the running commentary and suggestions from the children, brings a real sense of joy to the work.

I love watching the way they handle paint; moving it around so freely, making bold marks without hesitation, and choosing colours with complete confidence. There’s something refreshing in that freedom, and it’s a reminder not to overthink, just to get on and paint.

Neon Sunset, 16x12in, oil on canvas

What time of day do you find most productive for painting, and does this relate to the light you’re trying to capture in your work?
I rely quite heavily on natural light although am  drawn to the edges of the day, early morning and evening when the light is at its most dramatic. Those in-between moments are when everything feels most alive and changeable. Even in the studio, I notice my energy shifts with the light outside. When the light is changing, I feel more connected to the work.

How do you organise your reference material, sketches, and works in progress?
I tend to organise things by quality of light rather than location. I might group studies around themes that I’m trying to figure out. It helps keep me focused on what really matters in the work, which is the light rather than the geography.

Shards of Light, 28x20in, oil on canvas

Do you paint outdoors regularly, and if so, how does your plein air setup differ from your studio setup?
Yes, being outdoors is how I recharge. My plein air setup is all about speed and responsiveness. It’s about getting down the truth of the light before it disappears. The studio gives me time to develop that initial idea, but the plein air sketches or underpainting remain the heartbeat behind everything I make.

How do you balance commissioned work, exhibitions, and personal projects within your studio schedule?
I try to see them all as part of the same path. Whether it’s a commission or a personal piece, the aim is always the same to capture that moment of awe. I make sure to leave space in my schedule just to observe and be outside, so the work never starts to feel mechanical or flat.

Dance of Light, 32x24in, oil on canvas

Are there rituals or routines that help you transition into a focused, creative mindset before you begin painting?
I usually begin by looking through my field studies or starting with a sketch or underpainting where I can be more free and playful. It helps clear away the noise of the day. Once I start mixing those first strong values and laying down paint, I find myself back in that moment standing under a shifting sky, chasing the light.

Find out more about Hannah on her website.