Freddy sculpting from life at Horse Guards whilst Artist-in-Residence. During the Queen’s Platinum Jubilee. © Adam Blackmore-Heel

Learn more about Freddy Paske and the influences that have shaped his work, in this interview with the award-winning figurative artist.

Freddy is an award-winning figurative artist focusing on the relationship between what is shown and what is seen. Freddy has recently teamed up with Painters Online Holidays with an exclusive retreat at the Alfriston Hotel, Alfriston.

First Love, from Freddy’s Safari Collection

Freddy Paske’s paintings are charged with movement, atmosphere and a strong sense of lived experience. A former British Army officer, Paske came to painting through an unconventional route, bringing with him an acute awareness of environment, action and human presence. His work, whether depicting sporting life, wildlife or moments drawn from active service, is less concerned with literal description than with capturing energy and emotion through bold colour, expressive mark-making and considered abstraction.

In this interview, Freddy Paske reflects on his journey into art, the influences that continue to shape his work, and the decisions behind the dynamic visual language that has earned him growing recognition.

How do you decide what to suggest and what to leave to the viewer’s imagination?

I’m always conscious that a painting shouldn’t explain everything. I try to give the viewer just enough information for the eye to lock onto the subject, then allow the rest to be completed by instinct and memory. That space, between what’s clearly described and what’s merely implied, is where the painting stays alive. Overworking removes that tension, so I often stop earlier than feels comfortable.

Lioness, watercolour, from Freddy’s Safari Collection. Painted in the Lolldaiga Hills, Kenya.

How does your military background continue to influence your work?

The Army trained me to observe quickly and decisively. In operational environments you learn to read light, terrain, movement and atmosphere instinctively, and that carries directly into my painting. Emotionally, those experiences gave me a strong respect or energy, urgency and presence, qualities I still look for in my work rather than quiet, static description.

Lone Lorikeet, Oil on canvas, from Freddy’s Safari Collection. Inspired by his travels to NSW, Australia.

How do you adapt your process across wildlife, sport and active service subjects?

The subject matter changes, but the core process doesn’t. I’m always responding to rhythm, movement and weight. Wildlife tends to demand patience and distance; sport is about repetition and speed; active service is immediate and visceral. The materials and mark- making adjust accordingly, but the intention, to capture lived experience, stays the same.

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Amongst the Eucalyptus Trees, from Freddy’s Safari Collection.

How has working closely with animals and people shaped your understanding of movement and form?

Spending time embedded in environments removes the temptation to rely on clichés. Animals don’t pose, and people at work don’t perform for you, so you’re forced to understand how bodies actually move and occupy space. That first-hand observation sharpens your sense of balance, tension and structure far more than working from photographs alone.

Same Old Routine, from Freddy’s Safari Collection.

Can you describe your materials and techniques?

I work primarily in oils, often over acrylic grounds, building paintings through layered, confident marks rather than smooth blending. Bold colour helps establish atmosphere quickly, while abstraction allows me to suggest form without pinning it down too tightly. The aim is always impact first, detail second.

Birds of Kenya, from Freddy’s Safari Collection.

How did you approach painting the Queen’s Platinum Jubilee as Artist in Residence?

Rather than painting directly from life, my role was to absorb the event through filming, photography and rapid sketching. The scale of the Jubilee meant that my focus was on understanding atmosphere, rhythm and character rather than producing finished works on site. I was particularly interested in expressing the Queen’s distinct character through her lifelong love of horses. That thread ran through everything I observed, from the presence of the Royal Cavalry of Oman to the precision of the Guards’ rehearsal, and the ceremonial movement through Whitehall. The final paintings grew out of that accumulated observation, allowing me to distil the energy of the occasion into a more considered visual response.

Down at the Dam, from Freddy’s Safari Collection.

Why is learning with a practising artist valuable for students?

Students benefit from seeing real decision-making in action, including mistakes, adjustments and moments of uncertainty. A working artist brings lived experience, not just theory, and can explain why choices are made, not just how. That context is difficult to replicate through books or online tutorials alone.

Find out more about Freddy Paske on his website.