Toward the Expressive in Art- Veronica Aldous

I started painting when I was very small , was duly encouraged, and forgot to ever stop. I think everyone should paint as it is one of the greatest pleasures that existence can afford us.

I am very interested in mark making and colour. I layer these in order  to create works which remain spontaneous and interesting leaving the many marks intact. Often I find an unresolved brushstroke will find its place after its companions are placed. I am not trying to frame a verisimilitude, although I know that I could. Abstraction is not a failure of representation.
Expression replaces the limitations of the mirroring of what we think we see. We are so used to the photographic that we somehow are led to believe this is the highest truth. Of course, this is untrue, the camera is a blink of an eye and what it sees can be minutely altered using technology.

So. What  of paint? It is material and engaging. It allows me to create an ongoing dialogue with my artwork. It surprises. It blooms or runs or does something unusual and surprising. I like it to do that so that the magic stays in the work.
 I prepare a lot with drawing which provides the foundation of my artistic practice; this also allows me to develop form at an early stage of preparation. 
I prefer work to be underworked than overworked and a lot of painting is watching what the paint is actually saying, rather than torturing it layer by layer. This seems more truthful both to paint and subject and perhaps reveals the path of the thought process that brought the work into fruition.
I admire artists whose art is about paring down and verity to subject, such as Chinese artists. The ancient Oriental mark developed from calligraphy and took life as mountains or in the fur of a monkey.
I  will paint anything that seems immediate and compelling, animals and Nature are very important to me and I return to these subjects often, whether as landscape or as characters. I allow the paint its create its own language, utilising very wet areas to create blooms or backruns, or scraping back into previous layers to reveal interesting textures.
I work quite fast, so as not lose the impulse of the moment. The great thing about being a mature artist, is knowing how paint will behave and having the courage to push its boundaries and your own.

When I look back at work it often tells me an unexpected story of its genesis, its narrative appears within the layers of marks and colour, this revelation will led to further experimentation.
I also make experimental textile art, layering and stitching feel very much a part of my art life.

 Foundation in Art Braintree College with Gerry Gardiner; printmaking, textiles, silversmithing, painting, life drawing

B.A ( Hons) Fine Art and Film making Ravensbourne College 

John and the objects, and Turning Heads screened at the The Film Makers Co-operative in Camden 

Member of New Moon Studios artists' co-op
Exhibited Woodlands Gallery, Blackheath

1984- 2005
 Decorative artist and mural designer in London including commissioned  framed artworks

Certificate in Education, Croydon College 

Exhibitions at Ecology Centre, Carshalton, Surrey

2000-2002 Member of Kairos Womens' Art Co operative. Exhibition Merton Centre and open studios events

Exhibition Coningsby Gallery London

 Illustration commissions for Barron's Books, Mythological subjects working closely with art directors and authors

Collaborate with local artists and organise series of exhibitions and  slam poetry events for Croydon. Poems published in Orbis and Haiku Quarterly


2003-2005 Scholarly articles for Urthona on the printmaking of Samuel Palmer and interview and article on  international artist Susan Kapuscinski.

Exhibited with Society for Art of the Imagination,  Highgate, London

2015-2018  Collaborates  with the late editor and writer, Bart Wolffe, and publishes four collections of poetry, Moon Cinema, Mortal, Maja and Dollish

2005 – Present 
Tutor and Lecturer in Fine Art 
Manages Etsy shop ( art, jewellery, textile art) and popular poetry blog.


© Veronica Aldous 2021