ARTISTS & MAKERS

An Artistic Sense | Gillian Hughes

Gillian Hughes doesn’t have to wander far from home to immerse herself in a depth of pristine natural beauty. The English-born artist lives and works in a residential neighbourhood in the Royal National Park, an hour south of Sydney on Dharawal land. Her beachy village is filled with creative individuals who appreciate the special landscapes surrounding them – the Royal is the second oldest national park in the world and home to many significant First Nations sites.

Artist Gillian Hughes, standing in the doorway of her Bundeena studio

Gillian’s expressive paintings explore her sensory recollections of time spent in nature. Field sketches help the artist form compositions on the canvas, and each piece evolves organically as she teases out her connection to the light, forms and textures. For someone whose childhood was backdropped by the industrial landscape of Manchester in the UK, Gillian has forged a powerfully emotive link to Australias raw and wild terrain.

We hope you enjoy our catch-up with Gillian as much as we did.

The image features a serene landscape from the Royal National Park near Sydney, showcasing a lush green forest rising above a calm body of water. The dense foliage of vibrant green trees in the background contrasts with the delicate white branches of trees in the foreground. The tranquil water reflects the surrounding nature, creating a peaceful and harmonious view. This park, known for its stunning combination of bushland, coastline, and wildlife, offers a diverse and inspiring setting for photography and art.

Where do you live and create? Can you describe the area?

I live in Bundeena which is a small village situated in the Royal National Park. We are surrounded by beautiful beaches as well as spectacular bush, rainforest, mangroves and heathland – it really has everything so I am never short of inspiration and material for my creative projects!

The community of Bundeena is also full of like-minded creatives and I feel very lucky and grateful to have the support and encouragement of the other artists.

The image on the left shows the serene exterior of artist Gillian Hughes' studio in Bundeena, nestled among lush greenery. The simple, charming structure of the studio blends with the natural surroundings, offering a peaceful creative space. On the right, Gillian is seen outdoors, sitting by the water with her sketchbook in hand, capturing the beauty of the landscape. The dry, twisting trees along the water’s edge provide an evocative backdrop, illustrating the connection between Gillian’s artwork and the inspiring environment of Bundeena.

Were you artistic and creative as a child?

I always enjoyed making things and painting as a child, even though I didn’t really realise it at the time. I grew up in a very industrial area of Manchester in the UK, so art was not a big part of my life. I remember that I used to draw my budgerigars as a kid, but I didn’t pursue a serious art practice until well into my 30s.

Can you please describe your journey as an artist?

My interest in the arts really took hold when I started doing a few public programs at the National Art School in my 30s. I used to take a week off work and instead of going on holiday, I would book into one of their workshops. I did a basic oil painting workshop which got me absolutely hooked! After a few more workshops, I really wanted to study for a Bachelor of Fine Arts at NAS and I applied thinking I had absolutely no chance of getting in. I was quite shocked when I got a letter of acceptance from them! I then had to decide to give up my full-time job as a nursing unit manager, which I did despite many people saying that I had gone mad! I had one co-worker who really clarified things for me, saying “You have been given an opportunity that 99% of the population will never get”. After hearing that, I resigned from my position and have never looked back. I will be eternally grateful for his wise insight amongst a sea of naysayers!

Since graduating from NAS, I continue to practice from my home studio. I participated in the Bundeena Maianbar Art Trail for six years, opening my studio to the public on the first Sunday of every month. I’m currently having a break from that in order to prepare for an exciting opportunity at Wollongong Art Gallery this year.

The image captures the interior of artist Gillian Hughes' studio, where a large, vibrant landscape painting dominates the wall, depicting rugged hills with warm orange and red hues. Smaller framed artworks line the table beneath, showcasing delicate pieces of art. In the foreground, an art table is cluttered with used paint tubes, brushes, and a cup, reflecting the artist's creative process. An orange chair sits at the table, with a rich, patterned rug beneath it, adding a homely touch to the studio's warm and inviting atmosphere.

The image sequence captures artist Gillian Hughes at various stages of her creative process. On the left, Gillian is seen sketching by a tranquil water's edge, with her focus on capturing the surrounding landscape. In the center, a close-up of a vibrant painting reveals her interpretation of the natural world, with bold brushstrokes and rich colors reflecting the organic forms she observes. On the right, Gillian adds delicate details to a new sketch in her notebook, capturing the essence of the landscape with fluid lines and subtle washes of color, showcasing her thoughtful and immersive approach to art-making.

Which artists do you admire?

Oh there are so many and for many different reasons. I love artists that engage with the natural environment. I have a particular interest in drawing and mark making so artists such as John Wolesley and Lloyd Rees really appeal to me as their mark making is exquisite. I also love colour and paint so I love looking at works by Elizabeth Cummings, Idris Murphy and Luke Sciberras who all use colour in a bold and exciting way not unlike a modern impressionist manner. Amanda Penrose Hart also displays a wonderful use of the palette knife to achieve a rugged yet rich painting which I admire.

I love indigenous art in all its forms from painting to weaving. Their aesthetic is true to their environment and the level of sophistication is sometimes staggering!

Of course, one cannot go past some of the historical greats such as Cezanne, Degas, Rembrandt and Monet.

I had many teachers at art school whom I admired for both their own art practice and also their ability to impart their knowledge and really push me out of my comfort zone – of particular mention are Lynne Eastaway, Joe Frost, Maryanne Coutts, Suzanne Archer and Charles Cooper. I have a debt of gratitude to all of them!

Outside of the art world, who or what inspires you?

I find people who have had to overcome diversity very inspiring. It is very grounding to hear peoples stories who have struggled or have had to contend with barriers in order to realise their dreams. I prefer to be around positive people as I find it inspires me to just get on with doing the things I want to do regardless of what others may say!

The image captures artist Gillian Hughes sketching in the Australian bush, surrounded by the natural beauty of tall, slender eucalyptus trees and lush greenery. The sunlight filters through the trees, casting soft shadows on the ground as Gillian focuses on her drawing. With a sketchbook in hand, she is immersed in the environment, capturing the intricate details of the landscape around her. The scene reflects Gillian’s connection to nature and her process of translating the natural world into her artwork.

How does living where you do inspire your work?

I am surrounded by such a phenomenal array of subject matter that it can sometimes be quite overwhelming. I will often just observe the landscape on my walks over many weeks and notice small things that catch my eye – it might be a seed pod, leaves on the floor or the rock shapes and colours.

I also notice how things change with the seasons and how the light appears different. I have grown to love the Australian native flora in all its spiky hostility. It's quite beautiful when you see it all growing to its full expression out on the heath and on the headlands. I find myself constantly asking myself how would I render that in paint? I am then eager to return to the studio to work on a new painting.

The image captures a moment in the creative process of artist Gillian Hughes, with her blurred motion in the foreground adding an element of energy and movement to the scene. Behind her, a partially completed painting of trees and foliage emerges, with soft brushstrokes and a delicate interplay of colors, including muted greens, reds, and blues. The atmosphere is dreamy, reflecting the artist’s dynamic engagement with the landscape and her fluid, evolving approach to painting.

How has your style changed over time?

I am not sure that I consciously have a particular style – I find my mark-making and subsequent paintings almost like a handwriting. I work into a painting as I go without too much fussy preparation. I love trying new materials and will have a go with anything really, so recently I did some works in cold wax, which were very different to my usual stuff as the material is very unpredictable.

I also enjoy collage and works on paper so I will go back to these if I find myself stuck in a bit of a painting rut. I find as I progress with painting, sometimes less is more and I am working on what I call quieter paintings which allow breathing space and contemplation so watch this space!!

What rituals or activities get you in the mood to paint?

I absolutely have to start with a clean and organised studio! I will often have a leaf through some of my favourite artists books and set up my music for the day.

I also like to prepare a few boards/canvases with a ground so that I can work on a few pieces at the same time. A visit to any art gallery always gets the creative juices flowing so they are a great motivator!

The image on the left shows artist Gillian Hughes’ studio, where a large, atmospheric painting of Australian bushland hangs on the wall. The artwork features soft, muted tones and flowing brushstrokes, mirroring the natural forms of the landscape. In the foreground, the artist's workspace is filled with used paint tubes, brushes, and a red chair, creating a lived-in, creative environment. On the right, Gillian is seen sketching outdoors, capturing the essence of the trees with bold black lines and dynamic strokes, a testament to her immersive approach to nature and her artistic process.

Can you walk us through your creative process?

I do not like to work from photographs! That would be just too restricting and stifle any sense of how I felt in the landscape. I like to experience what I paint so I will go out and do some preliminary drawings of the landscape to work out its character, how things in the landscape relate to one another, and what it is that makes it visually so compelling. It is often tiny details such as the way a tree trunk leans a particular way or the Banksias that look like little beacons in the right light. I look at the contrast, the light and most importantly, how the landscape feels to me.

I then go back to the studio and start with a basic composition. I then work into the painting, building my memories of the landscape, and try to harness what is visually important to recreate that sense of place. I don’t have any preconceived idea of what the finished painting will look like, preferring to let the painting dictate what it needs. I like mark making within the paint so will often scratch or draw into the surface to reveal underpainted elements.

What elements of your surrounding landscape do you set out to capture? How do you employ colour, texture and brushstrokes to express these elements?

I like to capture the shapes and contrast in the landscape but not in a direct representational way as that would be too predictable. I work mainly in oils and will apply sometimes many layers before I reach what is a pleasing re-creation of the important elements that made that landscape so visually interesting.

With oils, I can easily exploit the opacity or translucent nature of a pigment to build the layers. I try to keep the painting quite open in composition for quite a few sessions without worrying about minor details until the end.

Working this way allows for decisions to be made in each painting session without being restricted to distracting detail.

The image on the left shows a close-up of a vibrant painting by artist Gillian Hughes, featuring a detailed depiction of a tree trunk and foliage. The brushstrokes are bold and expressive, capturing the rich textures and colors of the Australian landscape. On the right, a set of artist's materials is laid out on a rocky surface, including Derwent graphite pencils, pastel crayons, and a piece of blue chalk. These tools reflect Gillian’s versatile approach to her craft, blending various media to capture the essence of the natural world.

How do you decide when a painting is finished?

Well that’s a difficult one – my paintings evolve over many sessions and I often sit with them for quite a while in the house whilst they are drying. More often than not, they usually need a tiny bit of refinement – and sometimes they need a major bold change. The trick is deciding which one!! I am happy when the painting sits comfortably within its space but more importantly, it needs to communicate how I felt in the landscape.

Southern Wild Co celebrates the scent stories of the Australian landscape – what fragrances do you notice when you are painting and walking in the Royal National Park?

Eucalyptus
Wet earth/tree bark
Mossy wood
Tannins from the creeks
Wet leaves
Wattle in flower
Geraldton Wax
Salty seaweed

Explore Gillian’s work here.
Discover Southern Wild Co.'s bush-inspired Hidden Vale here.

...