YOUR CLOUDSCAPES CAPTURE MOMENTS OF STILLNESS AND QUIET OBSERVATION. WHAT INITIALLY DREW YOU TO THE SKY AS A RECURRING SUBJECT IN THIS BODY OF WORK?

Decades ago, I tended to only make cloud studies when I needed a reference for a larger work, but as time went on, when I went out landscape painting, I found my attention increasingly being drawn to the sky. Living here in Cornwall affords plenty of opportunities to observe the sky at its most expansive — over the sea above an uninterrupted horizon.

THERE’S A STRONG SENSE OF CALM AND SOFTNESS IN THESE PAINTINGS, PARTICULARLY IN THE COLOUR AND LIGHT. HOW IMPORTANT IS ATMOSPHERE AND EMOTIONAL TONE WHEN YOU’RE WORKING ON A CLOUDSCAPE?

Direct observation is central to all my work, whether working from the model, or painting a still life and I believe buried within the process of observation lies its potential emotional power. The sky, of course, is unique in that it is forever changing, and so the challenge is to capture the essence of a particular sky while remaining truthful to the moment. Direct observational painting is heavily dependent on touch, with regard to the handling of the brush, and the rendering of clouds demands the full breadth of touch, from feathery glances to more robust sweeps.

ONE WORK BRINGS TOGETHER DAILY STUDIES OF THE CORNISH SKY PAINTED DURING THE SECOND UK LOCKDOWN. HOW DID RETURNING TO THE SAME SUBJECT EACH DAY AFFECT YOUR RELATIONSHIP WITH TIME, ROUTINE, AND OBSERVATION?

During the first lockdown, there was a palpable feeling of uncertainty. By contrast, the skies above continued to evolve as they always have, undisturbed by everything happening below. And so, for the second UK lockdown, I decided to record each day with a cloud study. Working sequentially, the experience made me much more aware of how our own feelings are impacted by the behaviour of the sky — from the optimism of a clear blue sky, to trepidation instigated by the drama of an unruly collection of grey clouds.

CLOUDS ARE CONSTANTLY SHIFTING AND TRANSIENT. WHAT INTERESTS YOU IN TRYING TO FIX SOMETHING SO FLEETING INTO PAINT, PARTICULARLY USING OIL ON PANEL?

I find something compelling about the changing nature of the sky, a characteristic also shared with the sea. I work on small panels so that when painting plein air, ambitions are kept in check and I have a chance to respond to the sky as it moves. The manageable size also avoids the need to work up the painting in the studio afterwards, which, for me, is important as it preserves the studies as direct authentic responses.

WHEN VIEWERS ENCOUNTER THESE CLOUDSCAPES AT LONDON ART FAIR, WHAT KIND OF EXPERIENCE OR FEELING DO YOU HOPE THEY LEAVE WITH?

I have always been intrigued by the possibilities of the cyclical effect of art: when you see a painted cloudscape, it might nudge a memory of a particular day where the sky made its presence felt. Likewise, when observing a sky, it can prompt the thought of a painting. On many occasions, I have looked up at the sky and recognised the hand of Constable, Tiepolo, or the pale blue of Jacob van Ruisdael. By staying faithful to the truth of the moment, I hope the studies might, in some way, resonate with viewers through evoking a sense of familiarity.

WE ARE GRATEFUL TO NICHOLAS C. WILLIAMS FOR SHARING HIS VISION AND REFLECTIONS WITH US. TO EXPERIENCE THE FULL COLLECTION OR ENQUIRE ABOUT AVAILABLE WORKS, PLEASE FOLLOW THE LINK BELOW.

NICHOLAS C. WILLIAMS COLLECTION