We love William’s attention to detail and the meticulous processes that goes behind his work. His prints start off as photographs taken of hand crafted model planes, which he first spray paints to look exactly like the originals. This allows to create extreme detail, reflections, and the slight imperfections that come with real life objects.
Please tell us a bit about yourself, and the journey you took to become an artist.
I spent 5 years in Architecture, before switching across to Advertising for the last 6 years. I have always been creative, and those years in both fields have contributed hugely to me now being a print artist.
I first started by creating things I wanted on my own walls. These were initially prints based on my home city of Oxford, which can still be found in local shops & pubs there. I soon became fixated on classic aircraft, and my current style of prints evolved from that, and the processes I developed.
What helped you to get to where you are today? Are there any people, events, or experiences that encouraged you or influenced you to do what it is that you do?
Every now and then, meeting a new person or having a new experience opens up incredible avenues to you, which kick-start things all over again. Becoming involved with ArtSnug was one of those things.
What was the first piece of art that moved you? What was it about it that grabbed you?
Returning to the Trenches, CRW Nevinson. Having always had a strong interest in architecture, futurism was naturally going to appeal to me. But this was the first time I saw a piece which so strongly communicated human experience in the futurism style. It’s incredibly powerful and evocative, with huge dynamism to it.
Where do you get your inspiration from? Any tips for fellow artists who are having a bit of a dry spell?
I encourage everyone to go the the Summer Exhibiton at the Royal Academy. Every single year you’ll see a couple of pieces which inspire you to creating something new yourself.
I often find that a dry spell is self-imposed. If for whatever reason you lose momentum on, or in-between projects, it can be so hard to pick it up again. For me, it’s about knowing that on this day, you’re going to devote a solid period of time to being creative – forcing things to move forward, and hopefully reveal new things to be excited about.
Where do you work best from? Do you have any habits, or a routine, that help you harness your creativity?
I like to research a lot about my subjects, before creating prints based on them. This feels important, as it can firstly help give that momentum, but also inspire as to how I might treat them in the final print.
What is your current favourite piece in your own body of work? Why does it hold a special place in your heart?
‘Spitfire I’. This was my first aircraft print, and the first print that my friends themselves wanted. I asked one Christmas if anyone would like one, and 50 friends said yes. There’s nothing more fulfilling than people wishing to have your work on their wall.
What was the latest piece of art that you bought yourself?
The last print I bought was A Balloon View of London as seen from Hampstead 1851, Banks & Co. A ridiculously detailed view of London, from an unusual angle. This was more akin to some of my Oxford work (in my dreams). I first saw this in a Fitzrovia pub, and it’s now pride of place at home.