With Honor Greenwood
FFA- Tell us a bit about yourself, How did you get into art?
HG- I was born in Manchester and moved to London in 2016 to attend Central Saint Martins. Art has always been a constant in my life from when I was young. I was lucky enough to have extremely interested and encouraging art teachers when I was younger and without a doubt they made me realise it was possible to have a career in the arts.
FFA- How would you describe your personal practice?
HG- An exploration into flow, movement and depth, primarily in painting. Very hands-on, I enjoy the physical aspect of creating and tend to stay as far away from technology as possible!
FFA- How do you start with new work? ( materials/ inspiration/ process etc)
HG- Much of my work actually begins by studying the piece that came before it. For example, if there is a particular brush stroke that I really liked from one painting I will take this and recreate it in three-dimensional forms for my next installation or that movement is the focus of a new painting.
FFA- What are you currently working on?
HG-After creating a body of work on paper I am now working on a new series of canvases that explore tone and depth. I am also developing some works on wood. They are hand cut and as mentioned above, their form has been influenced by previous brushstrokes within works on canvas.
FFA- How do you feel about the rise of virtual reality in the art world?
HG- As a non-digital practitioner I have always found the digital somewhat of a mystery. Like most things in life, I think it was inevitable that the digital world would soon creep into the art-world but recent events have meant that this inevitability has been sped up tenfold. However, it has its benefits, virtual exhibitions have opened up the art world to so may more people who can now access it whenever and wherever in the world they are.
FFA- Has the global pandemic affected you?
HG- It has been a tricky time to create as so much inspiration comes from the outside world and exhibitions. But in may was it has opened doors for me. For example, I feel that with virtual shows it has meant galleries feel able to take more risks and are working with more up coming artists who perhaps are less well know than their usual artists.
FFA- What’s the best part about being a young artist?
HG- You still have leeway for learning and finding your style. I feel that there is a pressure to have your practice down to a T when you develop into an established artist but for now, that pressure is elevated slightly and there is more room for experimentation.
FFA- What the toughest part to being a young artist?
HG- Not having your practice down to a T!