Artist Statement
Tamsin paints to slow down and pay attention. She does not paint a specific place. Her
paintings unfold, evoking a sense of place, its spirit - an attunement to light, texture and
atmosphere.
Her current body of work, THE LONG LIGHT, traces the seasonal arc in the Farway - the
exceptional Summer of 2026. Emerald greens, shimmering lilacs and rich oil impasto
reflect the exuberance of May, fading to parched ochre tones of late August. Several
paintings, including the large-scale Lilac Light (170 x 180cm), were painted in her garden.
With all her senses attuned to the hum of the valley, Tamsin paints quickly to capture
subtle shifts in light, hidden pools, their reflections, magnificent oak and beech.
Her palette is adventurous: lemon yellows, violets, and subtle tonal greens. Intuition leads,
held by an understanding of value, colour and composition.
Informed by her background as a professional cook, Tamsin approaches materials with
risk and discovery. Her process is physical, layering acrylic as the lean and oil as the fat,
allowing pentimenti to remain as memory.
At some point she relinquishes control, and the canvas surrenders its secrets
paintings unfold, evoking a sense of place, its spirit - an attunement to light, texture and
atmosphere.
Her current body of work, THE LONG LIGHT, traces the seasonal arc in the Farway - the
exceptional Summer of 2026. Emerald greens, shimmering lilacs and rich oil impasto
reflect the exuberance of May, fading to parched ochre tones of late August. Several
paintings, including the large-scale Lilac Light (170 x 180cm), were painted in her garden.
With all her senses attuned to the hum of the valley, Tamsin paints quickly to capture
subtle shifts in light, hidden pools, their reflections, magnificent oak and beech.
Her palette is adventurous: lemon yellows, violets, and subtle tonal greens. Intuition leads,
held by an understanding of value, colour and composition.
Informed by her background as a professional cook, Tamsin approaches materials with
risk and discovery. Her process is physical, layering acrylic as the lean and oil as the fat,
allowing pentimenti to remain as memory.
At some point she relinquishes control, and the canvas surrenders its secrets
