In conversation with .....

Elisa Hudson:

Liz : Hi Elisa – we’ve known each other for quite a long  time now.  The first painting I bought from you was nearly 20 years ago!

Elisa: Yes, I remember it well and it brings back happy memories of being part of Whitstable Contemporary Arts group and Johnny’s Art House. Your painting was a mixture of collected native and Whitstable oyster shells as well as rock oyster shells.

Liz : I love it – I remember at the time we had a yellow sofa so I asked  if you could paint the oysters on a yellow background.  The good thing about the painting is that even though we have moved house twice since then and don’t have the yellow sofa anymore it just looks great  - a ray of sunshine.  Do people often ask you for commissions?

Elisa :I’m glad the painting has stood the test of time and house moves! I think we all look for art that ‘matches’ our homes one way or another and I’m open to commission ideas, I see them as collaborative works with the collector. I am regularly asked for commissions, and as well as the oyster works I make pencil portraits and paintings and sometimes landscape and mural requests.

Liz: How do you think the interior design market has affected your work and as an artist do you mind being asked to cater for specific interior design requests?   Does it take away from the actual art and your ‘artists expression’?

Elisa: I think that I am more comfortable compartmentalising aspects of the work I make and I’m always open to a conversation to see what the design request is. At art school the drive to create a style that was consistent prevailed and still does exist in my studio work. The interior design market has definitely helped, especially the desire to have original work instead of mass production prints. I will say when I think that a commission isn’t for me and will try to think of another artist who would be able to fit the brief. The only thing I wouldn’t do though is a copy of another artists work!

Liz: I remember showing my work to a gallery in the early days when I was doing a lot of beach hut  paintings and the gallerist more or less told me which things sold best and what to paint – and said never do anything green it never sells!  I was quite affronted and didn’t go back!

Elisa: I think I must have had the same gallerist! It is really incredible what gets said. Sometimes it is good to listen to the comments and suggestions and a good gallerist or dealer relationship is paramount. It was suggested one time to use cheap canvas and not to paint anything using lime green, nothing like a comment such as that to bring out the rebel in me! It also made me feel like I was starving my creative development and just making work that would sell.

Liz: Yes Its easy to get stuck in a rut and just paint things that will sell but also its good to have a  recognisable style that is exclusive to you and also,  I should think. especially with something like painting an oyster shell,  it’s something you keep perfecting over time.

Elisa : Painting oyster shells originally started as things to paint between portrait sittings. I was reluctant to work from a photograph ( still am, but use a mixture). I definitely went through a period of feeling like a production line and then used to joke to myself - ‘ if in doubt paint and oyster shell!. My family are my fiercest critics and would regularly ask when I would paint something else. No one says that about still life paintings of flowers! The oyster shell has been depicted in art since the 17th Century and I admit I am fascinated with it and all aspect of its relationship with humankind. I do think the reasons for making work develop over time and I have sketchbooks full of ideas ready to be worked on in the future.

Liz:  I find with my work that I do keep going back to the sea.  With me it’s always been about colour and a feeling of expressing something.  I have found that I am only just getting going with really expressing myself, something that is really me and maybe that comes with age because you have so much life experience to draw on.  I am currently working on a series based on a trip to Denmark I made with my family on a cargo ship from Whitstable harbour when I was only six years old.... its autobiographical but then I realised it’s also based around the sea again!

Elisa: It is fascinating how past events shape the work that we end up making and I can’t wait until you share your series of works. I do think time helps to develop a strong base to reflect work through. Whitstable and the surrounding coast is hugely significant to my life as well although I have a healthy fear of the sea! I am descended from sea faring folk and am somewhat an out of practise sailor myself. I often wonder why we are drawn to the sea. The rhythm of the tide, the sense of freedom and the reminder of the magnificence of nature. The sea is exhilarating and relaxing all at once. I have cherished memories of horse riding along the Seasalter stretch of beach, jumping the breakwaters, sometimes falling off, the wind in my hair and the sound of pebbles under hoof! Eating fish and chips in a rainbow swimsuit just along the wall by The Neptune and wading about in the mud as the tide goes out. All these moment and memories add to the mix and help influence the work we make.

Liz:I guess you can’t help but express yourself and your own taste, things you want to explore, things you want to say and its most important to be just you – a bit like handwriting – you can try to change it but basically it’s just you and that’s the most important thing to be true to yourself.