"Flocks
and Stocks"
Nobody likes it when their
stocks plummet. Not humans, and not seabirds. Seabirds nesting
in large groups rely on dependable sources of food—generally fish stocks—to
raise their young. In places where these stocks have crashed,
due to overfishing, climate change, and other factors, seabirds
have suffered greatly. But in places where they still thrive,
it is indeed a spectacle to see great flocks of seabirds and
great schools of fish merging in an annual explosion of symphony
and drama.
See the exhibit
at the Project Puffin Visitor Center during Summer 2009
Project Puffin Visitor Center is
open daily June 1 to October 31 from 10AM to 5PM and on Wednesdays
until 7PM. The Center is a joint endeavor of the National and Maine
Audubon Societies.
For a preview of the original art
in the show, visit: http://www.naturalselectiongallery.co.uk/Website/Flocks_and_stx.html
 About
The Artist
Paul Bartlett is a self-taught
artist with a PhD in animal behaviour. He is an elected member
of the Society
of Wildlife Artists (SWLA) and won Artist
of the Year in 2006 at their annual exhibition at London’s
Mall Galleries. He was a category winner and overall runner-up
in the Wildlife Artist of the Year competition in
2009 and a finalist for the BBC Wildlife
Artist of the Year.
His work has featured in numerous art publications such as
International Artist, Birds
Illustrated, BBC Wildlife magazine
and Wildscape magazine, as well as several books.
Variety and experimentation
are the main emphases of Paul’s approach to his art. He seeks to continually strive to find innovative techniques and styles in which to depict his subjects whilst retaining an element of authenticity. In 2003 he developed a unique approach to painting watercolours whereby the surface of the paper is ripped to achieve texture and tonal contrast. In the last three years he has been focusing on developing his art through collage and mixed media, where “anything is possible”.
Often combining collage with acrylics or pastels, Paul likes
to pertinent publications for his works. He sources articles
which relate to the subject, thereby adding an extra facet to
the painting.
 Paul’s paintings are usually produced
in the studio using a combination of field sketches, photographs,
memory and some creativity. When encountering a potential subject
in the field his usual approach is to get some reference photos
from a distance in case the animal is scared away. He’ll then approach
cautiously until he is close enough to sketch, often with the use
of binoculars or telescope. At this stage he is already starting
to formulate compositional ideas which may translate to finished
paintings in the studio. Back in the studio the sketches and photos
are pooled to provide a range of interesting postures which can
be incorporated into a visually pleasing composition without compromising
authenticity. "If I can get people who have no real interest in
wildlife to look at my paintings and like them enough to buy them,
then that to me is a success".
Paul has held major solo exhibitions
at Edinburgh Zoo Gallery, the Scottish Seabird Centre in North
Berwick, as well as the Pittenweem Arts Festival every year. He
regularly contributes to exhibitions at the Mall Galleries in London
and throughout the UK, and his work features at Edinburgh airport.
In 2009 he is exhibiting a collection of his works in Maine, USA.
Painting for a living allows Paul the time and opportunity to enjoy his passion for nature and the outdoors. His other pastimes include climbing mountains and kayaking. He lives in
St Andrews with his partner and their two daughters.
His work can be seen
on his website at http://www.naturalselectiongallery.co.uk
Paul Bartlett’s Approach
to Art (as told by Paul Bartlett)
"Variety and experimentation
are the main emphases of my approach to art. I strive to maintain
a harmonious balance between the creativity of the artist and
the authenticity of the ornithologist. In 2003 I developed a
unique approach to painting watercolours by ripping the surface
of the paper to achieve texture and tonal contrast. More recently,
I have turned my focus to combining collage with acrylics or
pastels. Here, anything is possible! Often, I will add an extra
facet to the painting by incorporating articles which relate
to the subject. My current paintings are the result of all my
experiments with technique and mediums over my artistic career.
Although I love to paint and sketch
outdoors, working with ripped paper requires most of my collages
to be produced in the studio, using a combination of field sketches,
photographs, memory, and creativity.In the field, my usual approach
is to get some reference photos from a distance in case the animal
is scared away by my presence. I then approach cautiously until
I can get into a position to sketch, often with the aid of binoculars
or telescope. At this stage, I am already starting to formulate
compositional ideas which may translate to finished paintings in
the studio. Back in the studio, the sketches and photos provide
a range of interesting postures which can be incorporated into
a visually pleasing composition without compromising authenticity.
If I can get people who have no real interest in wildlife to appreciate
my paintings—that to me is a success!"
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