1) Walk me through a typical day in the studio for you?
KW: My typical day starts with checking newspapers, Instagram and Twitter. Much of my work is influenced by events in the world and physical representations of the city and society. I get a lot of inspiration from old newspapers, books and magazines , and have a massive library of resources collected over years of trawling Carboot sales and secondhand book shops. All of these go into a mental melting pot to be reused either in photography, collage,print or paintings. I tend to work in a particular medium for a few weeks at a time . This is especially true when I’m painting - saves me clearing up all the time . When I am traveling, my work focuses on photography and digital collage, and I work a lot in photoshop.
2) What is something viewers might not know about your work?
KW: Before I studied art, I did a geography degree. I’ve always loved the textural work of artists like Anselm Keifer, plus pieces which involve maps and contour diagrams - definitely inbuilt from my youth ! Also I was born and brought up in London, and images of the city in the rather grim and edgy 1970s really fascinate me.
3) What is the most challenging part of your process as an artist and what is most rewarding?
KW: I don’t like planning my work as I like to get a feeling of rapid creation in each piece, especially in painting. However this means I discard a lot of work because I am unhappy with it. So I think knowing when to stop is my biggest challenge !
4) Is there any advice you have for artists/creators during this difficult time?
KW: I feel totally blessed at this time because I have space, a garden and am financially secure. I think this is the exception for many artists, particularly those starting out on their careers. Because physical exhibitions are limited, this can be an opportunity to get off an art production treadmill and experiment with new subjects and techniques, and maybe expand technical skills by trying new mediums.