Open Studio_Nina Archer

Sep 23, 2020
Open Studio_Nina Archer
Contrast and balance are an essential part of her work – the juxtaposition of negative space with complex surfaces of textural layering—the ongoing conflict between order and chaos.
Through the application of multiple layers of gesso, charcoal, acrylic and graphite, there is always evidence of numerous adjustments and traces left behind. Nina is always aware of how important an accident or the element of chance is, changing the direction of the work and taking it down a different route. Nina's training and background are in design; this has had a significant effect on understanding form, proportion and mark making and has been instrumental in the development of a visual approach to the work.


5 Questions with Nina Archer


1) Why art?
For me, art has always been essential to my well-being either by experiencing it or creating it.
2) How much time do you spend in the studio per week?
We built a studio when we moved to the Shropshire hills in 2014, it has long views across the valley and is surrounded by forested hills – it’s a few yards from our house and is a wonderful space. I share this with my husband who is a wood carver and turner. I’m in the studio every day. There’s nowhere else I would rather be.
3) What motivates and drives your work?
I can’t imagine not painting – it’s what I do. That’s it.
4) What direction is your work heading now?
My recent work has been exploring how ancient structures sit in the landscape and how they evoke a sense of the figurative. I am constantly experimenting with new materials (to me at least) - sand, bitumen paint, marble dust etc but the work always retains a strong core drawing element and I feel happiest with a bit of charcoal and graphite in my hand.
5) What do you hope people see when they look at your paintings?
Abstract work can be complex and challenging to look at. I wouldn’t want to put limitations on how people look at the work and maybe the artist is not best placed to be objective about their own work because it is such a subjective process, but I hope people would recognise the strong, textural detail and composition in the paintings.

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