Patrick Palmer is an experienced British painter who has exhibited his work throughout the UK. He previously worked in publishing before deciding to turn to art full-time, and has since been busy composing figurative pieces that focus on the human form. Primarily producing post-romantic nudes amidst a haze of soft colour combinations, he seeks to capture senses of delicacy, sensuality, and elegant suggestiveness.
We sat down with Patrick Palmer to talk about his current projects, inspiration, and the start of his artistic career.
When did you decide you wanted to become an artist?
For as long as I can remember I’ve always wanted to be an artist but never thought I could make a living from it. I left a successful career in media at 40 and went to art college to follow my passion…
Could you please describe your art?
Classical, subtle nudes – capturing the female form.
Patrick Palmer is a modern master of figurative art. His post-romantic nudes are not only exquisitely painted, but also dreamy, delicate and suggestive.
Claudia Moscovici, Art Critic.
Where do you find your inspiration?
From living, looking and feeling. I’m constantly looking for beauty and perfection.
Who are the characters in your artwork?
They are usually professional models. I book them for photoshoots and direct them into sensitive poses and other poses I like or have seen. I also let them do their own thing to get some natural and unique images. However, I think a lot of the characters in the pieces come from something inside, from the unconscious.
What is your creative process?
I start with a batch of photos which I lay out around my studio whilst I am working on other stuff. Then I gradually work out the best way to approach each one – some get put aside or abandoned. I like to have around 5 pieces on the go at any one time and I build them all up together, layer by layer.
First of all I draw – roughly sketching the basic figure out. Then, starting with the darkest tones, I gradually build up the figure and form. I start with the most important parts and leave less-important parts until the end and may leave them out altogether, depending on how the composition develops.
Often, I get smudges or mistakes on the work which I leave until towards the end – sometimes I take some out or all out. And sometimes they are best left in, it’s a bit of a judgement call…
What are the most important steps?
Preparation. Preparing the canvas, the board properly, having some kind of plan. But also being prepared to mess it up and take risks. Constantly looking, thinking and adapting. If it’s really not working, leave it, think about it and come back to it another time…
What is your favourite piece of art?
Too many to choose from – most things by Klimt and Degas. It changes all the time but currently I would say – ‘Dancers Tying Shoes’ by Degas.
Who is your favourite artist of all time?
It changes all the time too but this week I’m really into Giacometti and Henry Moore. I’m even thinking about doing some sculpture myself…
What artists inspire you today?
My classical favourites are Degas, Lautrec, Rodin, Giacometti, Picasso, Henry Moore, Klimt, J.W. Waterhouse. And for the modern ones; Paul Elmsley, Michael Talbot (sculpture), Jesse Stern, ZhaomingWu, Stephen Bauman, Henrik Aa, Uldalen, Sukanto Debnath, Michael Clark (especcialy his Bacon portraits – I even own one of his Limited Editions and he taught me how to paint). And Bobby Gill who taught me how to paint too.
What are your future projects?
I have some upcoming shows this summer to prepare, including a solo show in The Lauderdale gallery in London!
Thank you Patrick Palmer ! Click here to view his full SINGULART portfolio !
