Emma Alcock
“For me, light is represented by indirect light of a shadow, reflection or silhouette... it is about creating harmony and stillness”
Q&A
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I love flat northern light.
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The light is best in my studio from midday when there is no bright sunlight. When the light is too strong it affects the way I see and react to the colours on the canvas.
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Often for me light is represented by indirect light such as a shadow, reflection or silhouette, or I if paint landscapes for example, the light is more about creating harmony and stillness.
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Yes, completely. This is exactly what I do. I am interested in the concept of light and dark and the effect light has on the darkness and visa-versa. I am interested in the mystery and symbolism of these two elements.
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Whistler, he was the first artist I studied as a student at the Royal College of Art. I understood from him how light can be trapped between fine layers of paint and he inspired me to develop a method whereby light can shine from within the artwork rather than placing the light on the surface of the canvas.
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Light is fundamental to my creativity and, therefore, my process of painting. I am motivated by creating an inner light to my work and I am enriched by this. In reality, I am creating my ‘own light’ through the work, more often than not inspired by observing light itself. I want people to be held by the luminosity of the paintings.
Lines III, 2022
Touching , 2015
White line II, 2021
Light and Dark II, 2015
About
Emma uses light to create harmony and stillness in her paintings. Light in her work is often represented indirectly through shadows, reflections or silhouettes, she is also interested in the concept of light and dark and the effect light has on darkness and vice-versa. The flat afternoon light in her studio is when Emma prefers to paint; at other times bright sunlight tends to distort her colours.
Each painting represents a process of gradual and considered layering of paint. Starting with a conscious image her slow and considered use of colours and textures create a luminosity and vibrancy that distinguishes her work; using empty spaces - like the silence between the notes in music – she paints a symphony of light and form that glows from the canvas.
When Emma studied at the Royal College of Art (MA) she was inspired by Whistler from whom she learnt how to trap light between fine veils of paint. She has since had several sell-out, solo exhibitions with The Fine Art Society, Cadogan Contemporary and Rebecca Hossack Gallery and been a regular contributor to the RA Summer Exhibition.
