Visit the Studio with Edwina Lucas

The crisp, beautiful paintings of artist Edwina Lucas represent the world how we want it to be. Water is more blue––all the better for swimming––and flowers more vibrant. Her pieces look so clear we can smell the salt of a sea wave or the garden of pink blossoms. It comes as no surprise that the our glimpse inside Edwina’s studio is just as thoughtful, lovely, and all around delightful.

Join us as we head out into the fresh air of spring in true plein air style with Edwina.

What materials do you use? And why?

The material I use most often is oil paint. I think that’s because I love absolutely everything about it. The smell of it, the feeling of it on my brush, the rich colors it makes. I was drawn to oil paint when I was about five years old. My mother is an oil painter and the attic of my childhood home was her studio. The smell of her oil paints used to wash over me even before I opened her studio door. I remember running my fingers along the tubes of paint and watching her squirt color onto her palette, absolutely mesmerized. She was never cautious about me using oil paint when I was so young. My mother wasn’t afraid of me getting it on my clothes or using too much expensive paint. I think she saw the artist in me, recognized it from her own experience, and chose to feed it. My first oil painting was a copy of a Claude Monet painting from a children’s book I used to read. When I was finished, she framed it and it was the proudest I’d ever felt. I think some part of me is always chasing that feeling of pride and oil paint helps to get me there.

What is your artwork about? What does it speak to?

My work is about being awake. It is about living life with your eyes wide open –– about noticing everything, from the way the sunlight hits a houseplant to the way an ocean wave can bring you to your knees. For me, this awareness is meditative. It is gratitude. My hope is that my work awakens the viewer to a new way of seeing –– one that promotes reflection and stillness. In this way maybe we can slow down and appreciate it all, just a little bit more.

Where do you get your inspiration?

Nature is at the root of all of my work and therefore, my main source of inspiration. There are specific themes within the realm of nature, however, that are inspiring to me and often surface in my work.

One of those themes is repetition. I’m often drawn to repeated visuals whether they are blooms on a tree, scales on a fish, or bubbles in the water. These natural occurrences have an organic unfolding, unlike pattern which is the exact element repeated, in the same way, over and over again. I love painting things in repetition because it is an opportunity for me to truly get to know an object. As I paint these forms again and again –– from different angles, in various stages of development and throughout different times of day –– I go deep into knowing them. It makes me feel closer to nature and connected with the piece I’m creating.

Another recurring theme in my work is light. I find myself drawn to different lighting for different subjects. Sometimes I’m called to the high saturation of an object in full sunlight. The colors are richer and the contrast between them is bolder. Other times I enjoy the subtlety of an overcast day. Elements of the subject lose their crispness, edges blur, and the colors are softer. Light plays a large role in drawing me to a particular subject. It helps to direct my compositions as I stand in nature finding my painting. I am often drawn to the way light strikes a group of leaves, a person’s body or a petal on a flower and the whole painting grows around that. But like most things, light is fleeting and I have to chase it. I have to be patient yet quick and strike brush to canvas when the time is right. It becomes a game, like playing tag with the sun.

What is your typical routine when you get to the studio? Walk us through a typical studio day.

I would say that I have two types of workdays, a studio day and a plein air day. Both days begin with yoga and coffee, lots of coffee. Once I’m properly caffeinated, on a studio day I arrive around 10am. I do a lot of ‘looking’ when I’m in the studio. I usually sit and look at the piece I’m working on for about 20 minutes before I begin painting. During this time I think about the changes I’d like to make or what to work on next within the painting. When I begin a painting I usually start with a light sketch, in either charcoal or pencil, on the surface to work out my composition. After that, I begin to block in big shapes and values with a thinner wash of oil paint. I try to match these washes as best I can to the color I’m seeing. This allows me to cover the whole canvas and build the image all at once. Most of these washes will be covered by layers of more refined painting but some peek through in the finished piece. I try to work from life as much as I can, but I do sometimes work from photographs as well. I try not to limit myself. If I have an idea and it’s only possible to achieve if I use a photograph, then that’s what I do. When I paint in the studio I listen to podcasts, often the creepy murder ones, or music. I like to keep my music light and upbeat. It puts me in a good mood and helps me loosen up. Painting is serious enough, my playlist doesn’t have to be!

A plein air day starts the night before with a check of the weather and the packing up of my supplies. These days are usually long and tiring, so I like to be as prepared as possible. I plan out what and where I’m going to paint and run through my checklist of what I need. Once I’m out painting I don’t listen to any music. I like to listen to what’s going on around me, the birds, the waves, the rustle of leaves below my feet. It helps me to feel a part of what I’m painting. I paint in plein air year-round but most often in the spring and fall. Painting outdoors is always a challenge but it is much more difficult in the freezing cold or sweltering heat. Plein air days last as long as the sun and my body allow. It’s hard work battling the elements, taking in all the visual information and often holding in a full bladder! When I am done with a day of painting outside I always have a feeling of accomplishment even if I am unhappy with what I painted. My best night sleeps are always after a day of plein air painting.

Do you work at a particular size or scale? Why?

I work in a wide range of canvas sizes. The smallest I’ve painted is 5 x 7 inches and the largest is 60 x 72 inches. I think that different subjects lend themselves to different sizes. Lately, I’ve been drawn to a square or slightly off-square format like an 11 x 12 inch panel. Something about the lack of pre-defined horizontal or a vertical has helped me to loosen up a bit.

What are you currently working on? Share with us what is exciting to you about this most recent work.

Currently, I’m painting every flower that pops up in my yard! I absolutely love painting in the spring. It’s like the world reinvents itself everyday. I began this season painting daffodils, then moved on to magnolias. Right now the lilacs are in full bloom as well as clematis. Next up are my favorite, the roses! When the weather won’t allow me to paint outside, I work on some larger pieces that are in progress. I have a new swimmer in the works, as well as a painting of ferns on the forest floor inspired by a pre-covid trip to Oregon. I also have a few little critters I’m painting. I just sketched a new rabbit that’s watching me as I type this, begging to be painted!

Which artists most inspire you and your work?

I have a long list of artists who inspire me. When I am painting landscapes or seascapes I turn to the work of Neil Welliver and Winslow Homer for inspiration. My figurative paintings often draw inspiration from Joaquin Sorolla and John Singer Sargent. Before I begin working on a floral painting I always study the works of Maria Oakey Dewing, Henri Fantin-Latour, and Antonio Lopez Garcia.

In my day-to-day life, there are two artists that have had the largest effect on my work. The first is my mother, Maryann Lucas. Her ever-evolving, sophisticatedly beautiful work is a huge inspiration to me. Equally stimulating, are our endless conversations about art. We spend most of our time together talking about each other’s work and the work of other artists who catch our eye. These conversations are exciting, humbling and pure. The second artist is my mentor, John Alexander. I have had the privilege of working with John as an assistant/apprentice for the past 7 years. His work consists of daring subject matter, dramatic compositions and bold paint handling. I reference his work and his words daily.

Do you balance another job in addition to being an artist?

While I consider myself a full time painter, I also teach an adult oil painting class one day a week and also give private instruction. My oil painting class takes place in a beautiful old barn run by an art supply store called Golden Eagle in East Hampton, NY. These lessons have been a beautiful addition to my life and many wonderful relationships have grown out of them. I miss my classes and students and look forward to gathering once again when it is safe and appropriate.

Do you have any current or upcoming exhibits? Please share!

Due to covid-19, the shows I was planning on being in have been postponed. I have, however, recently taken part in a drive-by art show which was a lot of fun. Images and details from this event and others can be found on my Instagram page @edwinalucasartwork.

We hope you’ve enjoyed this special peek into Edwina's creative environment! Even in a virtual age, we encourage all budding collectors to take the time to connect with the artists you love directly.

We want to remind you of our awesome artist messaging feature directly on the Art in Res site––reach out now and foster that creative energy! Have more questions for Edwina on her art and practice? Follow up with her directly via our messenger. We know she’ll be thrilled to answer any questions you might have. Ask about a specific painting or about her specific process in general––either approach works!