The Black Horse, 2025
oil on canvas
60 x 60cm
© The Artist
My preference for a reduced palette began during my degree studies... I find that these constraints actually encourage bolder mark making and more thoughtful composition, helping me create atmospheres that better fit my visions.
– Nicholas Turner, 2025
Eastwood Fine Art: Your paintings express a unique sense of colour, and you often work in a restrained palette of as few as three colours. Tell us about your approach.
Nicholas Turner: I often use a limited colour palette in my paintings, though I select the specific colours according to each piece. When I took the Foundation Art course in Bristol in 1991, I was introduced to the possibilities of working with fewer colours: yellow ochre, Indian red, cobalt blue, black, and white. This combination has been central to my work for over three decades. Lately, I've been exploring a similar approach with just yellow, red, black, and white. Much like cooking—another creative passion of mine—I believe you don’t need every ingredient on hand to create something special. My preference for a reduced palette began during my degree studies and was further influenced by early collaborations with other artists and mentors. I find that these constraints actually encourage bolder mark making and more thoughtful composition, helping me create atmospheres that better fit my visions.
When it comes to colour, sometimes less truly is more if choices are made thoughtfully. Still, practicality sometimes requires adjustments, and I adapt as needed. The interplay of harmonious or intentionally clashing colours is all about carefully choosing and placing tones, and that's what really excites me.
EFA: During the course of your career you have also spent several years teaching, has this affected the way in which you work?
NT: My experiences as a teacher were profoundly influenced by the inspiring educators and mentors I've encountered. While teaching at Bower Ashton (UWE) and the Swansea School of Art, I carefully planned each session—often incorporating slide shows to familiarise students with prominent artists and techniques. The classroom was always a collaborative space, and I gained much from the wide-ranging perspectives of my students. This ongoing process continues to shape my own artistic practice, as I frequently reference my research into artistic methods and integrate those insights while developing my own style.
EFA: The scenes in your paintings combine real and imagined spaces, how do you envisage your subject matter?
NT: Over the past several decades, my European travels have centered around art—visiting galleries, studios, and soaking up local scenery, culture, and food. These journeys have become primarily painting trips. I work both outdoors with Pochade boxes and from photographs (as an aid back in the studio), where I use collated experiences to freely develop the themes and create larger works.
EFA: Is there anything you cannot be without in your studio?
NT: Yes, my palette! My palette was a gift from my teacher, mentor, and friend when he was clearing his studio in the late 1990s. The piece is, in fact, an old Victorian table with hinged drop leaves and wheels. For nearly 30 years, it has served as the foundation for many of my studio paintings. Due to my strong sentimental attachment, I have not considered replacing it, even after the wheels fell off; it now rests on four legs, bearing traces of paint mixed over the years. This table has become an integral component of both my workspace and artistic process.
EFA: Have any recent experiences given a new perspective to your day-to-day work?
NT: Recent travels, including visits to the Welsh coast, South of France, and Normandy, have provided valuable opportunities to experience various museums and galleries, which continually inspire my work and broaden my knowledge through observation and reflection. Additionally, modern jazz plays an important role in my creative process; I regularly draw inspiration from my extensive collection of jazz CDs, curated over many years starting as a teenager exploring London’s renowned record stores.
EFA: Two newly made paintings are presented in this edition of SPOTLIGHT. Tell us about these works!
NT: The Fishermen depicts an imagined scene that synthesises a range of impressions and emotions. While it may resemble a real location, it is in fact entirely fictional, constructed from elements drawn from my coastal experiences, particularly those along Britain’s shores, with a focus on west Cornwall. The work serves as a tribute to the St Ives school of painters.
The Black Horse presents a landscape through a romanticised perspective. It is my view that each painting can foster a dialogue with its audience. This particular piece is intended to provide a contemplative space that encourages personal reflection.