Artist Spotlight: Laura Smith NEAC

Please can you introduce yourself? 

I am a British figurative oil painter based in London. I like to work from still life setups that I create in my studio. Still life allows me the greatest freedom to express my emotions. The placement, manipulation and gesture of the objects, as well as how they interact with one another, is a big driving force for me. 

Can you walk us through your process of staging a still life? How much is planned versus intuitive?

Sometimes I have quite a clear idea in my mind when I begin arranging my setups. A good example of an outcome looking fairly similar to my original idea is 'Descended From the Sky'. However, 'Lit' began with nothing but ribbons hanging and lying flat; the buttercups were a later addition. The tulip in 'Liquid Fuel' demanded a companion and after much trial and error, the unlit candle was introduced. 'Between' was an attempt at recreating a painting made in 2017 but the painting evolved into something quite different, with extra flowing and taut ribbons. 

You work from life, often in a gazebo to control the light. Can you talk about working from life rather than photographs, and the importance that holds for you?

Yes, the gazebo is useful in lots of ways. If I do want to light my objects, I can have three sides of the gazebo blocking daylight, thereby creating a dark 'cave' where I can direct lights on tripods. The paintings I am showing this year were actually done in daylight. I removed the sides to let light in but I was still able to suspend the fabric and objects in the framework. 

As for painting from life versus photographs, I find painting from life far more engaging. All I ever want is to be fully absorbed. Not only are photographs less interesting to me but they also have an annoying habit of bullying me into replicating the facts of the coloured shapes they contain. I think all artists want to feel free. Some feel more freedom with a photograph (or drawing or memory) and some feel more freedom when working from the world around them.

You talk about connecting with the word 'theatrical' in relation to your work. Can you tell us a little more about what the word means to you? How do you see influence of theatre shaping your compositions and work?

My objects become anthropomorphic as they relate to each other and the spaces I create for them. I reach toward both peopled narratives and abstraction, knowing that the way I depict an object can dissolve its familiarity. 

I love the word theatrical used in relation to my painting. To me, a theatre is somewhere that transports the audience to a semi-fantastical world where the props are transformed into real, magical objects. For example, a simple hoop might become a portal, or a chair a carriage. In my paintings, I aim to elevate the ordinary things around us and imbue them with significance. 

You are a member of the New English Art Club. How does your involvement with the NEAC impact your practice or community?

I love being a member of the NEAC. It is very rare that we artists are able to point to something that gives us a real sense of validation. To be elected meant a huge amount to me and has really built my confidence. Being able to make paintings, knowing that I will be able to show them every year in central London, and many other locations besides, means that I can make ambitious work without reference to anyone else's criteria. That is hugely important to me. However, the community aspect is really the best bit. It is such a warm, supportive community and I have more artist friends now than ever before. 

Finally, do you have a favourite work you are exhibiting in the NEAC Annual Exhibition?

That's a difficult one because I have chosen four of my favourite recent paintings. I think, however, 'Descended From the Sky' is my favourite. It came together very quickly and I liked the fact that the grey became a sort of stormy sky before my eyes.