Are you a huge fan of Sky Arts, Landscape Artist of the Year? I am. I love to see how different artists interpret the same scene under similar conditions. In 2022, I appeared on the show as a Wildcard at Castle Ward, and I featured again in 2024, as a Pod Artist at Bristol’s Floating Harbour. So how did each experience compare?
For my first experience on the show, I felt lucky to be one of fifty wildcards, rather than a pod artist. Being amidst a large group of fellow artists made being observed feel much less daunting. I met all judges separately; they were all down to earth and encouraging.
As Wildcards, we had the freedom to select our own spots within a designated area. When you’re given a pod, it’s in a fixed position. Castle Ward House was an isolated block with a lot of straight lines and, under an overcast sky, held little drama. I made my way over to where the branches of a tree framed it and set about making the house the star of the show.
I shared the company and space with other Wildcard artists. We interacted and had great craic while painting together. In the pod, you are more secluded from the other artists. Kate Bryan interviewed James, beside me, for the show and asked him about his technique. It was interesting to learn that the guy who won as their favourite Wildcard, had ignored the house and painted what he found interesting. I wish I had thought of that.
Two years later, I reapplied. I was in the staffroom of a school chewing on a cold ham sandwich when I got a phone call from one of the Storyvault Films production team. It transformed my day when I heard they wanted me to travel to Bristol during the summer to paint in a pod, but I was sworn to secrecy!
The venue was the Hotwells area of Bristol’s Floating Harbour. Meh!... I like painting water but not necessarily the colourful row of houses on the hill so I turned my attention to the Isambard Kingdom Brunel’s pump house instead.
It was the most dramatic, blustery day of that summer and a moment of devastating, sudden grief for me. In Belgium, Peter, my ex-partner of sixteen years who I stayed connected with, died at the start of the weekend before the show.
I felt reassured that it was possible to go on the show and fly to Pete’s crematorium straight after filming. The production team were so supportive and kept to their promise not to inform the judges. I could leave the pod and stop interviews if needed. I was not nervous because the show had less importance to me at that moment and I embraced every minute.
The Storyvault Films production team were welcoming and so professional. Another bonus of being a Pod artist was the hot drinks and lunch provided by the catering company. In my naivety I took a half hour break with the crew not realising the other artists continued painting with lunch beside them.
I learned about the interests and requirements of everyone in their roles, from work experience student runners to camera and sound technicians. In the pod, the cameras and interviews are a necessary consistent feature. I loved the banter with James, we had the same dry humour. So, the downside of being a pod artist is that you do not get the full four hours to paint. (especially if you take a lunch break… cough! cough!)
I felt more validated being a pod artist compared to wildcard artist. It was good promotion and people recognised me even in Belfast. On both occasions, I learnt that I want to paint slowly, one at a time, not pumping out work for novelty’s sake. My work is intricate, layered and not chasing trends. In a world where everything can be made instantly ‘slow made’ is becoming the luxury standard.
