The Society of Wildlife Artists

I was beyond delighted to be awarded the Greg Poole Award for Field Drawing Bursary, but also apprehensive about the personal challenges it would present that I would ordinarily avoid. I have poor hearing, and as a result I have become quite insular and I keep my field drawing practice very safe. However, the prospect of drawing seabirds from life, meeting other like-minded artists, being taught by amazing tutors, and immersing myself in all that is birds and drawing outweighed any negatives.

Day one, sketching at Dunbar Harbour, warm-up exercises drawing the enchanting kittiwake, experiencing the horrible smell, the wonderful cacophony of seabird chatter and the ridiculously changeable weather. I quickly realised I had a major equipment failure, no scope or tripod and heavy binoculars, I now know you need the right kit for this kind of extreme seabird drawing!

This day, and the week that followed is unquestionably the steepest and most precious learning curve I have ever had in my work.

Previously I thought I knew how to draw on location, I thought I knew how I drew, but most importantly I thought I only drew what I saw, I thought I drew with honesty, but the biggest shift occurred when I was forced to acknowledge that an element of impressionism creeps into my drawing when the facts aren’t visible, or the conditions not favourable. This course has made me realise that this approach has no place in my work, I must search and search for the right line, I am a person who wears my heart on my sleeve, and I want my drawing to be no exception.

For years I have been asking myself how to successfully study and draw an animal in its environment that does not stay still and often from a distance — how do I navigate this, why is this so important in my drawing? I found from talking to other participants that these are shared questions, and in answer to them Darren instils the need to develop an intrinsic understanding of anatomy and how birds work, not to rely on observation alone. Visiting John Busby’s studio, and seeing his vast body of work showed the need for a commitment to understand your subject, only then can you freely depict it with your own artistic voice. It is almost impossible to see in their work where both Kittie and Nik end and the environment and elements start, the way they work embodies everything, the noise, the weather, the landscape, the wildlife and this is how they inspire as tutors.

Drawing on a cliff edge at St Abb’s Head is an exhilarating challenge. I battled with my with equipment, the weather, the heights and my drawing demons won, but in my struggle something shifted, after which I was able to settle into some drawing that felt new, the experience of the week had brought change. Since returning home I have continued to push my drawing and I feel I am starting again.

I have so much gratitude for this opportunity, for the deep learning I experienced and the insight and support that Kittie, Nik and Darren gave so willingly. For the camaraderie of the group, the meals, conversations, and artwork we shared.

This course has had and will continue to have a profound effect on my practice.