Introduction: Fine Art: Background and Philosophy of Painting
In 1995, after seven years of fine art training, Vanessa graduated from the Slade School of Fine Art, London.
For five years of that time, she studied set design, which involved model making, design of stage sets, painting, technical handling of numerous media involved in theatre scene painting and conventional painting. Canvas and wood were two of the surfaces most frequently used. This training had the advantage of not confining her production to one method, but opened the way to producing the paintings she does now using paint in unconventional ways. History lectures on architecture, theatre history, interior design, history of costume and furniture all play their part in the work she does today.
Above: 2010: Exhibited at the Christine Walker Gallery, Harestone Valley Road, Caterham, Surrey
Vanessa comes from an artistic family. Many of her family were professional painters in the 19th and 20th centuries who exhibited in Royal Scottish and Royal Academies, and other London galleries as well as abroad. Cousin David Tremlett is famed for his modernist mural work, and was short listed for the Turner Prize, 1987.
For the past decade the theme of distress and decay has dominated The technique involved elements of uncertainty, but with practise the completed works give the effect of power, intensity and atmosphere of the places and subjects portrayed.
From 2008: I aim to create works which reflect my spiritual path and illustrate the metaphors of communication. These would include: lighthouses, water, bridges, landscapes.
2002-2008: Venice
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'Venice was a minefield for painting. Nearly every arch and building had something exactly in the middle, which does not work easily with the eye, so I had to continually to look for ways to off set the design to make the painting work. Here at last I feel I have the best of the power that the water offered splashing up against the walls and the soft romance, with structure underneath. These works are the first where I feel I am recapturing the delicious combination of strength, power, softness and non preciousness.The wet on wet was so apt for a city on water.'
1997-2002: Historic buildings:
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I am attracted to a style that appears to be accidental and results in a 'shabby chic' appearance. Textures produced from ageing effects fascinate me and I push this approach continuously. I like the haphazard look that masks how the painting was done. Knole House embodies this approach; the house is medieval and has exceptional interiors preserved in the 17th century style, in fantastic opulence. Velvets are reduced to string and colours fade in the light after 400 years. Knole has inspired books and films including memorably Orlando, by Virginia Woolf, which was made into the successful film by Jane Campion.'
