Expand on how the hue in your work and colour gives such a sense of place. 

Leading on from this, colour is part of your work and depicts season.  Comment on this (with four paintings) for each season.

I imagine the desired appearance of the painting, and colour plays a crucial role in this creative process. I explore both subdued palettes and intensely vibrant colour combinations to capture the essence of a particular location or season.

Winter Moon – I have used deep blues, greys and white to suggest winter stillness. Plus, warmer brown tones which just adds a touch of coziness to the foreground.

The atmospheric moon stands in stark contrast to the night sky, softly illuminating the cottages and trees beneath it.

Winter Moon 80 x 80 cm

Days of Spring – To create this piece I kept the palette light and airy, using a soft duck egg blue in the foreground, complimented by a creamy peach sky. I wanted to create an uplifting and gentle painting to evoke feelings of fresh new beginnings.

Days of Spring 60 x 80

I used patterned fabrics to infuse a sense of joy to this painting.

Beach huts evoke a touch of childhood nostalgia for me, and those magical days spent at the seaside.

My intention was to create a piece that captures an atmospheric essence, filled with soft pastel candyfloss hues reminiscent of a carefree moment in time.

Magical Summer 40 x 40 cm

Pink Moon – Autumn’s Harvest Moon inspired this piece. Following the heat of the late summer and entering the autumnal colour palette. I wanted to create a very earthy and vibrant piece to represent the beauty of this ‘decaying season and appreciate autumn in all its glory.

I aimed to reflect the earthy tones that characterize autumn, as the foliage shifts in colour to stunning reds, rich browns and burnt oranges.

Pink Moon 60 x 80 cm

How do you choose a particular landscape?

The Yorkshire Landscape is a primary source of inspiration for me, characterised by its rural charm. Enriched with captivating focal points of quaint cottages, farm buildings, and animals.  As it evolves through the changing seasons, it provides me with a stream of fresh ideas.

How do textiles influence your work (e.g. You Colour My World)?

How do you gather suitable material for your still life work?

I find fabric very seductive and an indulgence to collect.  The more decorative, the better!

Burano Carnival 45 x 50 cm

I collect from second-hand shops and the search for it is such an exciting stage of the creative journey. Most fabrics are from old clothing which I use every part of including the buttons.  I love the journey of somebody’s old discarded striped shirt beginning its new life in one of my paintings. Travelling to a different town and sometimes a different country.

Burano, Venice

Objects for my still-life paintings are sourced this way too and it’s an absolute pleasure shopping for old teapots, teacups, jugs etc to surround myself with in the studio.

A trip into Burano, Venice in 2024 profoundly inspired ‘You Colour My World’.

Surrounded by the colourful decorative architecture of the island accelerated my use of pattern and colour in my paintings. It was such a magical place to be and the feeling I had being there is unforgettable!! I felt so inspired, and upon my return, I created a new collection of richly decorative paintings with vibrant fabrics, stencilling techniques, and colourful stitching.

Pink House in Burano 30 x 32 cm

I then applied this to a painting I was currently working on, based on a famous Yorkshire landmark known as ‘The White Horse of Kilburn’ A huge white chalk horse on the Yorkshire hillside and a popular visitor attraction.  painting became – ‘You Colour My World’.

Then the painting became – ‘You Colour My World’.

Burano Carnival 45 x 50 cm

The decorative work continued towards the end of 2024 and can be seen in a ‘Book Bench’ I was commissioned to paint by Cockerton business group and Darlington Borough Council.

Book Bench

The ideas were generated by local school children which I amalgamated into one design to create the finished piece. The design depicts features from Cockerton Green, famous literacy quotes, a huge rainbow and birds, creating a lively and inspiring seating area for the children’s library.  It is set to be placed on the village green in springtime.

Book Bench

Is it your aim to make us, the viewer feel that we are trespasser, or there with your permission in your landscapes?

Not at all.

I aim to create a captivating environment for the viewer, encouraging an emotional response, and inviting the viewer to escape in an alternate realm.

Book Bench

Your still life is of large, vases and then with smaller vases you add fruit, plus the odd cup of coffee.  Do you mean to give the feeling that you have just left the room?

This is not the intension.

I paint the scene from an observational perspective incorporating objects with personal significance to me. One artwork where I’m very much in the scene, titled ‘Lady in Black’ serves as a self-portrait surrounded by birds. My love for Victorian Gothic style interiors greatly influenced this piece and I plan to develop this collection in the future.

Lady in Black 50 x 50 cm

Comment on the combination in ‘Wild Romance’ of flowers, pottery, seagull, textiles.

This painting was inspired by a wonderful trip to Cornwall on the South Coast UK. Watching the seagulls flooding the sands and feasting on scraps of discarded food gave me lots of photography opportunities.

A lovely interaction between two gulls gave me the idea for ‘Wild Romance’

I painted one gull as if they were patiently waiting for the other with a single flower in a charming white jug, perched on a pretty ornate table. For me the blue and white colour scheme with a touch of yellow evokes ‘seaside’.

What leads you to add animals and birds to your still life?

I feel good around animals, and I spend hours bird watching from my garden. I prepare unique food attracting the same birds back each day.  Studying their mannerisms is a true joy and seeing them hopping around the garden onto different pots and tables has inspired their inclusion in my still life pieces.

The influence of meditation and sound bath experiences have influenced my ‘Spirit animal’ paintings.

Among the creatures that have emerged during my recent meditative practices are stags, hares, foxes, eagles and bears, each contributing to the development of my most recent works 

Recently you have been working on birds, comment.

Birds offer endless inspiration for me. Their behaviours, and habitats provide a rich source of visual and creative interest which is freely available all year round.

Can you share some of your recent birds, and discuss the works?

Discuss ‘Percy’ and how you have captured the exact movement that is so well know of a pigeon.

Percy

A symbol of peace and resilience!

Pigeons are beautiful to paint with their unusual colourful feathers. They create great shapes, especially when they crowd onto one small feeding perch.

While I primarily rely on my own photography to capture bird poses, I also draw inspiration from professional photographers online. The ‘strut’ of Percy was inspired by one such image.  I used an olive-green background palette to create a collection that contrasts with my previous work, characterized by vibrant colours.

Percy

The Kiss

The affectionate behaviour between a pair of pigeons inspired this painting. This charming display of kissing and locking necks, inspired me to create my interpretation of one of my favourite paintings, Gustav Klimt’s – The Kiss.

I chose fresh colours to harmonize the gentle hues of the pigeons. I aimed to capture the endearing connection between these two lovebirds.

The Kiss

Taming A Jackdaw

A pair of Jackdaws began visiting the garden each day. I gradually gained their trust, and they came a little closer over time. They are quite large birds, so I was surprised at how timid they were compared to other garden birds. I found their behaviour intriguing which inspired this piece. I tried to capture its hesitant stance as it peered at the food. I chose to use a delicate pink patterned background to add elegance to the birds robust profile.

Taming A Jackdaw

How important is the background related to where the bird was?  (The little hints, owls and night light, seagull, and water)

Every part of the painting is important. Adding subtle details in the background makes the painting more immersive for the viewer and creates an engaging narrative.

What are you plans for the future?

I am in the process of preparing for my upcoming exhibition.  May 23 to June 4, 2025, at The Station in Richmond, North Yorkshire.During this event, I will be engaging in live painting on several days which is a lovely opportunity to meet visitors to the gallery.

Additionally, I have more travel painting excursions planned, with my next destination being Barcelona. I am also interested in pursuing further opportunities for mural projects and creating ‘book bench’ installations.

Contact:

Lisa House

https://www.lisahouseartist.co.uk/

Deborah Blakeley, Melbourne, Australia

Interview by Deborah Blakeley, March 2025

Images on these pages are all rights reserved by Lisa House