We are so happy to introduce all you Artsnugglers to an artist we have admired for some time! Canadian artist Carrie Jean Goldsmith is an Abstract Expressionist artist based in the UK and a wonderful addition to our Artist Family. With rich, gestural and intuitive brushstrokes, Carrie creates compelling works which seem to dance and play with the light – always suggesting a hidden narrative. Much of this ambiguity arises from her connection to the landscape and the natural world – a constant source of inspiration behind these organic and textural compositions.

Carrie chatted with us recently about the passion and process behind these paintings. Read on for a glimpse into her daily routine, studio practice and inspirations…

Please tell us a bit about yourself and the journey you have taken to becoming an artist…

I’m originally from Canada but have lived in the UK for years. I would call myself an expressionist but with a focus on the composition.

I first started painting about 20 years ago. My early paintings were very much based on the landscape. I was initially inspired by the work of (fellow) Canadian artist Emily Carr. Her landscapes are utterly breathtaking with many giving the feeling of being literally within the trees. My favourites were painted with a deep, rich palette and had an almost dark, fairytale feel.

I eventually started to deconstruct my subject into vague shapes with the emphasis on light. There was still a relationship with the landscape, but now I am working in a pretty much completely abstract manner.

Are there any people, events, or experiences which shaped your practice?

A tutor who was very generous with his knowledge once told me that his greatest inspiration was the work of other artists. This could sound like a lack of originality but what he meant and what I now know is that seeing other people’s work, especially in galleries, is the most stimulating and exciting experience for an artist. There’s nothing like being wowed by the work of others to drive you forward with your own practice and I still find this the greatest impetus to my work.

Tell us about your studio practice. How do you create your artworks and what does a day in the life of Carrie look like?

I begin my day at around 9:00am, depending on the night before! I always start my day with either preparing new grounds or finishing previously started works. I need a warm up and time to get my head into the space before diving in on a brand new painting. I never start a painting on a white canvas; this is far too daunting and can make it very difficult to commit to those first marks.

I stretch my own canvases and once they’re primed I cover them in a combination of warm tones. I do this almost blindly; it’s just a base colour that may or may not ultimately be seen. The beauty of this is that sometimes some of that initial colour is visible and it can really make the painting. This isn’t something that I could truly plan or foresee, so there’s an element of serendipity that can often surprise and delight me.

What do you hope that your work communicates to the world?

I am fundamentally painting what I want to see in art. I know that may sound obvious, but I think it’s all too easy for artists to paint what they think others may like. I only allow paintings to be shown on virtual platforms or in exhibitions that I would truly want for myself. It’s so simple but it’s also incredibly easy to work away on a painting and tell myself that I have something and then stop, stand back and ask myself if I would hang this in my own space. If the answer isn’t a resounding ‘yes’ it’s time to start again.

I hope that my paintings create a sense of light, that the viewer will feel lost in the composition and, in some cases, wonder what is through the light and beyond. My work is created with lush brush strokes theses days, having been much tighter with cleaner lines previously. I hope that these strokes deliver a feeling of sumptuousness and all round satisfaction, if that makes sense.

What is your ‘Je ne sais quoi’? That special something that makes your artwork unique?

I have been told that my palette is quite distinctive. I know what I like in colour and that is usually deep, muted and organic hues with flashes of light and warmth.

Which other styles, artists or artworks have influenced you?

As mentioned earlier, my early influences include Emily Carr and I also love the work of so many artists painting around that time: Mark Gertler, Dora Carrington, Edward Burra, Juan Gris and then, somewhat later, Richard Diebenkorn, Francis Bacon and, of course, Abstract Expressionists such as Helen Frankenthaler, Franz Kline and Robert Motherwell and the lesser known Bernice Bing (plus so many others...). As far as more contemporary artists go I love the beautiful geometric paintings of Tomma Abts and am also a fan of Sean Scully and Peter Doig to name but a few…

What are your current obsessions, fascinations or favourite things?

I am mainly fascinated by light and feeling. I am in my element when I’m in my studio nice and early with loads of ideas, but I am also beyond excited and inspired when in galleries and when reading about my favourite artists. I cannot express enough how at home and also revved up immersing myself in art makes me feel.

How was lockdown, artistically? Did you find it a challenge, or was it a refreshing change?

Lockdown was honestly utterly joyous for me. To be able to paint all day every day with no obligations breaking up my studio time was sheer bliss. The Artist Support Pledge kept me extremely busy and helped me to connect with a whole new audience. This also saw a turning point in my approach as I started to seriously loosen up and get lost in those broad, thick brush strokes.

What was the first piece of art that moved you? What was it about it that grabbed you?

I’m going to refer back to my previous mention of Emily Carr. I was living in London and a Canadian friend had come to stay. When she returned to Vancouver she sent me a thank you note in the form of an Emily Carr art postcard featuring an image of her painting: ‘Forest Landscape No. 2’. I’m not exaggerating when I say it took my breath away. It’s so funny because Emily Carr is so well known in Canada and I was, frankly, bored of hearing about her while I still lived there! It took separation from all things Canadian for me to open my eyes and truly see the beauty in her work. I still have that postcard; it’s very faded but the note on the back from my friend is not and reads “never forget your home in the woods”, and I haven’t.

If you could choose three pieces of work from Artsnug to ‘snuggle up with’ which would they be?’

I would choose: Jayson Lilley ‘Walking Around The Southbank’, Jonathan Lawes ‘Patchwork collage #24’ and Victoria Young Jamieson ‘Floods’ painting.

You have the chance to hop into a time machine and join any historical art movement. Which do you go back to and why?

I would absolutely plop myself smack-bang into the art scene of New York in the 40’s and 50s when everything was popping off expressionism-wise. What I would give to be in the company of those early pioneers and to feed off the energy of the time! I’d be in my capri pants and beret, chain smoking and snapping my fingers to Beat poets, cool baby.

Do you have any advice for people just starting their art collection?

Yes for sure. Trust your instincts and don’t worry about what anyone else thinks. If you like something, that is all that matters. Also, don’t worry about necessarily starting with a large ‘statement’ piece or what could be called ‘wall cover’! If you see a painting (drawing, print, piece of sculpture) and it moves you and you feel drawn to it, make that your starting point. Don’t be afraid to build an eclectic collection of pieces that resonate with you.

Where would you like the future to take you, as an artist?

I’m really very happy with my practice and the way it’s moving. I started by painting for myself and the fact that other people like my work as well is a huge bonus and so gratifying. I hope I will continue to create work that makes me feel the sense of excitement it currently does.

SHOP CARRIE’S WORK