Being a Wildcard on Landscape Artist Of The Year
If you’d have told me a year ago I’d be watching myself in a national televised painting competition 12 months later I’d have told you that you were completely ridiculous. Yet that’s what’s happened this week, as I tuned in to watch series 11 of Sky Arts’ Landscape Artist of the Year.
Let’s rewind to last May, when my uncle texted me to tell me the closing date to apply was… that day. I’d only recently rediscovered my love of painting and had spent a few months immersing myself in acrylic paints and canvases with a fervour for creating that I hadn’t felt for many years. I had no confidence in my painting but decided to quieten the naysaying voices in my head by just going for it. I scrambled to photograph two paintings, the requirement for application, and hastily wrote the necessary statement to explain what my work was about. I had no idea, only that I was making paintings for the first time in decades and loving it.
My submission painting.
I had zero expectations, but fast forward a couple of weeks and an email lands in my inbox: I’d been selected as a Wildcard. Cue complete shock. Sadly my uncle hadn’t got a place, and the reality of having to turn up to paint in front of a camera crew and a group of experienced artists began to dawn on me - I was terrified.
My partner and I travelled to London from Brighton the night before as we had to be on location by 7.30am. And what a location - overlooking the Embankment from aboard the ship HMS Wellington. Not the green or lush landscape I’d assumed I’d be painting! Carrying my easel, painting boards, and bags full of paint, palettes and other equipment, we arrived on time along with a group of other nervous-looking artists.
You’re allowed to paint a single ground colour on your canvas or board before arriving but the production team inspect them on arrival and give them a (literal) stamp of approval before we could start.
We were taken aboard and I immediately realised the challenge ahead - the swell of the river gently rocking the ship with the occasional bump when a particularly enthusiastic Uber boat driver caught us in their wake. After having to exit the boat (or ship, as we were repeatedly corrected!) and re-board for filming purposes, we were allowed to set up. The space available for Wildcards was very small - the back area of the ship. Despite the production team reducing the number of Wildcards from the usual 50 to 25 for our heat, we were still pretty squeezed in!
The Wildcard area - it was a bit tight!
Suddenly we were told to ‘go!’ and everyone started furiously painting. During the settling in and introductions I’d gleaned that most of my fellow painters were very experienced amateur or professional artists. I was completely daunted. But there was no option to start, and as I looked out at the scene I was overwhelmed by the urban-ness of it. Built up areas are not my jam - I was completely out of the little comfort zone I had. So I went for what I could work with best, focusing on the trees that line the Southbank (primarily London planes, I've since discovered) and the rippling water, widely known for, well, it’s disgustingness. I quickly decided that choosing a colour palette that could transform this grey scene into something more joyful would make me feel more comfortable. A tiny pink hut on the opposite side of the riverbank caught my eye, and I could see the rest of the colours unfolding from there.
The view from my easel.
The rest of the day passed in a blur of brushstrokes, head scratching, easel-steadying (those pesky Uber boats) and being filmed. I hadn’t expected the filming if I’m honest - I assumed I’d be seen in wide shots of the Wildcards, but I was interviewed both by the friendly production team and by new judge, Eva Langret. I wish I could remember more of our conversation, but the reality is I was so focused on not making a fool of myself, I can’t remember! She was definitely lovely though, and very encouraging about my work.
Being interviewed by programme Judge, Eva Langret
The main highlight of the day was meeting so many other talented and interesting painters. I was made to feel so welcome and supported by artists with decades more experience than me, making the whole experience so enjoyable and affirming. I was lucky enough to be sitting next to Sheri Gee, an absolutely wonderful painter - please check out her work. I was thrilled when she was selected as the Wildcard winner! The ‘pod artists’ (the main six who were competing for a place in the semi final) were in a different part of the ship but I managed to sneak onto their deck during the afternoon to see their works in progress - all super impressive and it was exciting to see another Brighton artist, Lucy Bristow, amongst them.
I’d really recommend looking up the work of some of my fellow Wildcards, who included Olivia Palmer, Mark Miles, Betty Le Bon, Faye Bardo and Jean Davis.
My final painting
As the day drew to a close I was really chuffed with what I’d been able to create in the four hours we’d been given. You can find out more about the painting here, and I also have prints of it available, too.
Six months on, I still can’t believe I did it. I’ve learnt a lot since, my painting has continued to develop and I've gained a lot more confidence - in part due to the opportunity it gave me. What a day! An experience I’ll never forget.