Shed is best studio/workshop in Cuprinol Shed of the Year competition 2019

Artistintheshed studio reached the finals of the Shed of the Year 2019 competition sponsored by Cuprinol and was voted by the public to win best studio/workshop.

Over 3,000 sheds were entered into the competition and you can see details and media coverage on the shed in the media page.

Mary with Cuprinol Plaque awarded for best studio/workshop – photo Democracy PR

My shed studio is a huge painting. The front elevation is decorated with abstract symbols inspired by natural shapes such as seed heads and flowers and the side panel has been used as a canvas for a large happy tree painting.

I’m delighted to win the award as its such a fun competition that really digs deep into the quintessentially British obsession with garden sheds. My she shed studio has transformed my life giving me a dedicated space where I make my paintings. But more than that since decorating the studio every morning when I look out of the window it makes me smile and inspires me to get in there and start painting.

Huge thanks to everyone who voted, to Andrew Wilcox who works with sponsor Cuprinol to organise the competition each year and to Democracy PR in Manchester for managing an amazing PR campaign.

Art studio is finalist in Cuprinol Shed of the Year 2019

Shed in 2018 with giant cosmos

My she shed studio reached the Cuprinol Shed of the Year shortlist of 21 during the summer of 2019.

The shed was entered into the competition just a week before the deadline almost on an impulse so to get through to the final shortlist was amazing. Following selection for the shortlist the shed has featured in national media and I was interviewed on local TV. More media coverage can been viewed on the Shed in the Media page. 

image courtesy of South West News and Media

The summer of 2018 was the best in the UK over 40 years so I took the opportunity to transform my art studio shed by tackling my biggest canvas to date.

The studio had originally been painted in a very practical but rather boring garden white shade and although it looked tasteful I decided I wanted a change. I wanted bright, bold, in your face and to create a bit of garden magic that was totally unique and reflected my love of colour.

painting the details onto the shed walls

When I began to doodle a few flowers onto the doors I had not immediately decided just how  big the project would become. I think I had run out of large surfaces to paint on and it was such a glorious day that before I knew it the doodling had progressed to the window surrounds and then the entire front elevation.

As I already had some large bottles of studio acrylics from Jacksons Art I decided to use these and they actually went onto the surface very smoothly. I used foam decorating brushes to apply the back drop colours mixing the shades as I progressed brushing the paint onto the shed directly from the paint bottles. The colour scheme that started to emerge is reminiscent of the beautiful blue that Jacques Majorelle used for his phenomenal Majorelle gardens in Morocco, somewhere I hope to visit in the not too distant future.

Once the back drop colours had been applied I set about introducing little symbols, marks and flowers in contrasting warm colours – cadmium red, fluorescent pink and highlighted with titanium white. It was at some point in this doodling stage that I decided that the shed was not just going to be decorated but that it would become an actual painting.

 

side elevation with tree painting in progress

the tree on the side panel begins to take shape

I began to realise that this approach mirrors entirely the way that I paint. There is rarely a defined plan about what my paintings will be because I like to work from the gut using my instinct and intuition as my guide rather than trying to represent what I see accurately. I always paint in layers and allow each layer to determine the next direction  as the artwork progresses.

This is how the imagery and the colours started to work on the shed. And the ferocious heat last summer meant that the layers quickly dried so that I could cover up bits I was unhappy with and add details working swiftly between creating undercoat and applying decorations.

There were a few practical glitches with the paint application, the heat meant that as the paint dried little bubbles appeared in some places. Acrylic paint is not really designed to be used as a outdoor paint but I have decided that this will be a work in progress that morphs over time. We will have to see how the paint lives up to successive winters  and the ravages of rain, cold and possible snow but so far so good.

In a way this does not especially matter to me as the smooth surface is not important. I  can always get the sander out and see what effect that might have on the imagery and colour.

Shed details

I purchased my shed from Dunster House Ltd in 2014. It is a Lantera 12ft by 8ft off the peg log cabin. The design complies with planning height regulations. The roof is customised. The shed is not insulated but I just wrap up warm in winter! 

Decoration

The external walls are painted with Jacksons Art student acrylic paints, Arteza outdoor acrylic paints, Liquitex acrylics and a little Golden acrylic paint. The external walls have not been sealed. I am going to allow the weather to do its thing and repair and update the designs every year. The paint was applied with decorators foam brushes and fine art brushes and a variety of mark making tools. I have not sealed the paint with varnish as I know this will yellow the colours.

Global Attention

As I used the hashtag #tinyhomes in my initial posts on Instagram about the shed decoration the shed was noticed by a magazine in Japan called Koya Life who featured a double page spread with images. 

Where from here

Once the outside is  completed  I plan to tackle the inside space. I have some plans but they need to take in to account that  the interior needs to be flooded with light. I’m thinking of including inspirational quotes from famous and not so famous.

The shed studio is an ongoing project and it’s likely that it will morph continually.

shed in 2019 with wild flowers and sweet peas

Why I love Concertina sketchbooks for travelling

The quest for the perfect mobile art kit is ongoing and depending on the materials you decide to work with this can be quite a challenge.

I have found that the key is to edit down and to make a decision before you set foot out of the door that you are going to create drawings using one or two simple mediums.

When I fly I opt to travel with as little luggage as possible. The benefits of taking a carry on bag are a cheaper flight but also a speedy exit at the airport without having to wait for the carousel and baggage handling delays.

However for the travelling artist it is not just about trying to edit down the clothes and toiletries but managing to pack in a compact art kit that will enable creativity on the move.

Having travelled with ordinary paper covered sketch books for many years I know that drawings and paintings risk getting dog eared or worse spoiled with spilled toiletries bursting out of containers.

Choosing a sketch book that is robust is important. The other problem is finding that if you work big, and I love to work big, some sketch books can be frustratingly mean in size if they need to comply with small sized luggage restrictions.

It was during a trip to Cadiz a few years ago that I stumbled on the ideal travelling sketch book. An exhibition run by the Spanish Urban Sketchers displayed both finished work and a wonderful array of what appeared to be a hand made concertina sketch books.

The exhibition showed the concertina books opened out in full enabling you to follow the journey each artist had taken as they wandered the city streets making notes and sketches.

Drawings merged and the visual notes were frequently interspersed with written diaries. The pages were sometimes expanded into wide landscapes but there was also the opportunity to include small sketch notes and many artists had interspersed both really successfully.

The next time I walked into my local art shop I asked if these were books that you could buy. Enter stage left in my life what I consider to be the best sketch book for the travelling artist – the Seawhite Concertina sketchbook – I have not looked back!

I took the first book to Majorca in June 2016. A key benefit of the Seawhite concertina sketch book is the hard backed cover that protects the pages and also acts as a handy rest as you work on the early pages. The books are filled with good quality cartridge that can take a light watercolour wash.

I tend to travel to countries where the climate is warm so watercolour dries much more quickly here than it does at home. When travelling it’s easy to be distracted with all the new sights, sounds and experiences so it’s useful to have a handy book that can be carried in a small day pack.

The concertina design and the hard backed cover fulfill the need for robustness and artwork protection but also deliver on quality with good cartridge paper.

The Seawhite concertina sketch book is A5 in size and has 70 possible working surfaces as the pages are double sided. Each 140 gsm page is 2 sheets joined for stability. The hard carrying case protects your work as you travel around and also acts as a useful support.

Artistintheshed Conclusion

I have absolutely found my favourite sketch book for air travel but I think a great addition to this superb range would be a watercolour paper version to complement the current book.

Exhibtion at Alchemy 198

The next chance to view my work will be at Alchemy 198, an arty bar on Gloucester Road in Bristol. The exhibition will be on show throughout the month of May. included will be paintings from my recent tree series plus an enormous new painting that should hopefully be ready for next Wednesday when the show begins. There will not be a launch this time but the exhibition will be up for the full month of May.

STOP PRESS: The exhibition has been extended for the entire month of June

Boho fiesta tree image ©2019 Mary Price

My paintings will be hanging upstairs in the bar area. There is also a gallery downstairs with a full programme of events. For more information on Alchemy 198 see their website

The images below show some of the progress shots of the large painting that I have yet to name. It features a wild abstract meadow with birds swooping out into the sky.

details from latest unfinished painting image ©2019 Mary Price

I love to work into the detail of the abstract flowers. They are entirely imaginary and emerge gradually as the colours layer over each other. Acrylic paint is so forgiving – if you make a mistake it’s easy to wait for the paint to dry and then to do a bit of a makeover!  As a habitual bodger this is probably a good thing – mistakes simply don’t matter – in fact they are to be embraced for what they can teach you.

Speaking of bodging if you missed my ruminations on how great it is to make mistakes when making art you may like to hop on over to my recent blog post on How to be an artist. The post has made ripples out there in the art world and I’m proud to say that the Pittsburg Arts League in the USA have decided to print the article in their latest news letter which is rather lovely. 

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How to become an artist

For many of us, me included, attaching the ‘artist’ label to what we do is a sometimes uncomfortable step requiring a level of bravery. Who am I to write this article? – can I call myself an artist?

The imposter syndrome nags on, ‘What me? How can I say this about what I love to do? Am I good enough? Only famous people who sell every painting and make their living from their art are artists.’

This is, I believe, fundamentally untrue – unpainted paintings, uncarved sculptures, unpenned novels, unwritten songs, sonatas, operas, plays and so on would be the only result if we failed to have a measure of self belief before embarking on a creative journey as an artist.

We need to step back and reframe this belief and to understand that in order to call ourselves artists it is important to question aspects such as fame, notoriety and retail success as the measure for judging creative endeavour and title.

Last week I watched a beautiful film ‘At Eternity’s Gate‘ – about the final three years of Van Gogh’s life as an artist. Slow paced and emotive in its blending of nature and Van Gogh’s response to this inspiration source for his work, the film inspired in me the question ‘How do we become artists?’ What drives us and how do we carry on regardless of recognition, success or financial gain.

There is a scene in the film when Van Gogh describes to a priest in the asylum he is about to leave that painting is the only thing he can do, The priest does not ‘get’ his work – he says ‘ the world does not look like this, this just looks mad’.

Did Van Gogh attach commercial success to his belief that he was an artist and his compulsion to paint? Of course he wanted and needed to sell but the world wasn’t ready for him. He was to all intents a commercial failure in his own lifetime. But did he earn the title artist? Well of course he did.

When you look at art, whatever form, what is it that moves you? For me it is usually colour, my eye is always led to the colour burst in the room. When you go to a gallery do you always buy? I can with some degree of certainty guess that you probably do not. When you scroll through Instagram why do you do this? What are you looking for?

As a consumer or practitioner of art maybe you are looking for inspiration but I find that as an artist sometimes comparison steps in and this is I believe what stops so many of us from becoming artists in our own right.

‘Oh I give up’ we say, and usually far too soon before we have even given ourselves a chance, ‘I will never be able to paint, sing, write, sculpt, compose, take photographs like… insert any name of any one you look up to and admire.

And here is the thing. We are all afraid to fail and yet without making hundreds of attempts at whatever artform we choose most of us will never become any good. So many of us early in our lives listen too deeply to critics who thoughtlessly make an offhand remark about something we have created that throws us off kilter and makes us give up. The critics are often surprisingly people who care about us and have our interest at heart, our teachers, so we listen to what they say. We are discouraged and we lose the courage, and with that loss, the freedom it takes to try, to explore, to play and to practice, to feel our way and to learn from mistakes.


Be who you are and say what you feel because those who mind don’t matter and those who matter don’t mind.” Dr Suess

In my chosen art form, painting, most mediums have limitless possibilities of application to enable art expression. In order to exploit our chosen medium we need to spend time playing to understand what we can do with it.

Expel the notion that every time you decide to make something that it needs to attain a kind of perfection. Perfection is impossible. Perfection straight jackets possibility because of the fear of making bad art.

To make great art, and I believe everyone can, you need to welcome failure and to seek it out. Failure is fabulous – believe it and embrace it! Why is this? By failing we learn. It is that simple.


“There is only one thing that makes a dream impossible to achieve: the fear of failure.”
Paulo Coelho,

And when I talk of failure I mean failing after putting in a lot of effort. Sometimes I paint over and over a successively bad painting until I arrive at something that to me is passably acceptable. To reach this passably acceptable standard, self imposed of course, the work emerges after an interesting creative journey with ups and downs in the process.


Have no fear of perfection, you’ll never reach it.” Salvador Dali

To explain, maybe the composition was wrong, the colours murky, the subject just didn’t work and so I kept on painting over and over until some things began to gel.

If we think of a simple analogy, boiling an egg or making an omelette, it takes time and trial and error to make the meal just right for your taste. You like hard boiled? Four, five or six minutes? – it’s a matter of taste. You like a soft omelette without a runny centre – it take time to perfect the process to suit you.

So you get to the stage when your painting is passably acceptable to your taste. You have taken a creative journey and someone who doesn’t like your flavour of painting disses it. It’s like offering your delicious hard boiled egg to a fan of soft boiled eggs they can dip their soldiers in.

But the judgement of one person, the wrong person at the wrong time can destroy your confidence and at worst cause you to give up because you have not had the time to become sure of your own ability at the stage you had reached when the critic destroyed you. Most probably you had not yet found your artistic language. Can you remember a time when this happened? Did it make you stop doing something that interested you? Did you decide you were no good at that something? But try to learn to take courage. It is never too late to start over and reframe your attitude and to start playing again and rekindle your creativity.

Here is what I have learned on my journey to becoming happy to call myself an artist. I paint a lot. Some of my paintings are good. Some are not. I don’t care if everything I do is good or not because I have learned that failure is amazing. When you do something in a way that produces an outcome that is far from satisfactory you learn something.

If I mix orange and green I get mud. I don’t like mud. Lesson learned. Paint some orange. Let the paint dry. Paint green next to orange. They are polar opposites on the colour wheel and the contrast is awesome.

Another thing I have learned is to love process. When you are truly engrossed in a painting the world around you stops. It is liberating – chase those moments!

It may seem obvious but ditch procrastination and make time to do it. Stop talking about it or making excuses – there is always time – just stop watching TV – leave the house alone and ignore the ‘must do’ tasks. Making art is a better route to happiness than DIY.


Don’t think about making art, just get it done.  Let everyone else decide if it’s good or bad, whether they love it or hate it.  While they are deciding, make even more art.” Andy Warhol


Invest in yourself and don’t be mean with the materials you need. Start gradually – buy some lovely pencils and a good sketchbook, build up your tools – you can’t make art without them. And remember to squeeze the paint out of the tube – it’s meant to be on the paper or canvas. Don’t worry about running out – you will get to know what your favourite colours are and actually paint does go quite a long way. If you work in acrylics put the lids back on the paint or it will dry up. Look after your tools – clean them after each painting session and store them with care.

Look at art – if you like it and you can afford it – buy it. Go to galleries, museums, art fairs, plays, the cinema, read books etc. Travel, look around you, notice things, appreciate beauty whatever it is that you believe to be beautiful. You life will be richer. You will be richer. And the world will be richer because what the world always needs are people who are happy creating, sharing and contributing new beautiful art. Art is a wonderful route to happiness.

You can be an artist. Everyone can be an artist!


Every child is an artist. The problem is how to remain an artist once he grows up.” Pablo Picasso

Steps to becoming an artist

Start making something – anything that you enjoy. Give yourself permission to try lots of different media

Reframe your attitude to growth and embrace failure and mistakes for the lessons they will teach you

Enjoy what you do – play, explore, experiment – and for goodness sake ditch perfection. Be curious – its far more interesting!

Make 100 of whatever you are playing at doing – you will get better at it

Keep seeking until you find what you love and remember it doesn’t have to be one thing. Picasso made paintings, sculptures and decorated ceramics. He was a genius but some of his art is passably acceptable in my view. Picasso is my favourite artist!

Keep doing it, show it to people, be vulnerable, start an art Instagram account, be committed and keep stepping forward

Never stop learning and know that you can change tack – it’s entirely up to you

A final word

Remember artists are practitioners, they make, they do, they create, they collaborate, they communicate. Artists also show and share and put their work out for the world to see. Artists embrace vulnerability and accept that some people will be fans and some will not like what they do. Artists sell work and some make their living from their art. However commerce is the least authentic rationale for earning the title of artist.

If Van Gogh had given up The Starry Night would never have been painted, Don McClean would never have written ‘Vincent’ and ‘At Eternities Gate’ would not have had a reference for inspiration.



This article is ©Mary Price2019 – you are welcome to share so long as author is acknowledged