Canadian artist Laura Wood paints with gestural strokes to create elegant abstract compositions. Wood's process is intuitive as she is guided by the paint and chance happenings with colour mixing and form. Intentionality happens as Laura takes pause between strokes.This dance back and forth between pure expression and thoughtful mark making is how her works are created. We interviewed Laura to learn more about her practice, inspirations, and what she is working on today.
1. How does your creative day look like and what inspires you to make art?
My creative day starts late morning. I’m not a morning person, so I typically have a slower, quiet meditative start. I usually sit in my living room and enjoy a cup of coffee and then move on to painting. When approaching a painting for the day I like to light incense or a candle and put on music. This little ritual helps calm my mind and helps me be more present with the work. Some days I become very absorbed in painting, forgetting to eat or drink water, but I’m trying to learn to take breaks. Stepping away for a bite to eat or a glass of water usually proves useful in resetting me and giving me pause to see the paintings with “fresh” eyes. So, I’m trying to form better habits, and I think, in the end, that benefits my practice.
What inspires me to make art? Truly, the inspiration came at a young age. I had a vivid imagination, I spent lots of time outdoors, and often was very curious about things. My religious upbringing also ignited my spiritual curiosity. I was definitely very sensitive and internal. I felt there was a spirit in everything. I sometimes felt different having these kinds of thoughts, and I was self conscious of it. I had a lot to express, but I didn’t always have the words to describe it. The arts became an outlet for me to express my internal world. And my practice continues to be that outlet for me, a space to share my innermost self and my deepest understanding of what is around me. Art is like my shadow, it follows me everywhere I go, I am never without it. I find art a symbiotic profession. You can’t separate the artist from the art, nor the art from the artist, they define each other.
2. Tell us more about your art studio. If someone walked into your space, what would they learn about you?
Hm, that is a good question! Admittedly, their first observation might be how messy it is! It is a loosing battle for me to try to keep a clean studio, but I’m ok with that. I feel very creative amongst my mess (haha). I usually paint on the ground, so they would see all my tools and paints sprawled out on the studio floor most likely. I think the other thing people would notice is the trail of art supplies I bring out of studio and into my home. I often end up bringing work out of the studio to see it in different contexts, and then suddenly inspiration strikes and I’m painting in the living room (dining room, bedroom, etc.) So, it would seem, much to my partners chagrin, my whole house is my studio! I’m lucky to have his support and patience as he and my son dodge my artworks, on our house’s floors.
3. Do you prefer a minimalist or maximalist set-up and why?
It’s safe to say I operate out of a maximalist set up. That isn’t necessarily intentional, but I find myself most creative in the “chaos”.
4. How did you get interested in your medium?
I’m not sure there was one defining moment because paint has always called to me, but I can say my focus during my undergrad was Sculpture and Installation, and at the time, I was really taken with performance art and relational aesthetics. It was later, when I worked as a gallerist, that my love of painting was reignited. I was spending so much time surrounded by predominantly paintings. I would analyze them and imagine how each artist achieved certain affects and tried to understand their techniques. I would then get home and paint rather obsessively. To be honest, it got to the point where while working at the gallery, I was really itching to get home and paint.
5. Describe your style in one sentence.
Expressive flowing biomorphic abstract pieces that are vulnerable, and evocative. (That’s a mouthful!)
6. Has your style changed over time?
I would say my style continues to become looser. I can feel myself relaxing more while painting. Previously my brush strokes were a lot “tighter.” I felt more pressure to express everything in one piece. As I continue my practice, I’ve learned each painting is in conversation with your previous and future works. It took me a second to learn each one is apart of a larger body of work. Letting myself frame it like that- like each painting is a piece of a bigger puzzle, has helped me to gain confidence in the process. I used to feel as if each painting (which ever one I was working on) was the one and only painting & needed to express everything, ever! But I now enjoy the process knowing that it is the evolution and continuity of work that becomes the real story.
7. What are your main artistic tools?
I love my wide Liquitex free style brushes. I like how big brushes allow you to
expressively lay down a lot of information at one time. Recently, water has become a big tool for me, allowing it to change the nature of acrylic paint and create flowing compositions. And I enjoy experimenting with a variety of mediums with oil paint.
8. Do you experience creativity blocks and how do you stay positive and inspired? What elements in your studio inspire creativity?
I don’t experience creative blocks so much. I did, however, have one long hiatus from creating! After I had my son and finished my undergrad. I was very burnt out creatively. As I mentioned, it was working in a gallery that prompted me to pick up a brush again. That felt so refreshing.
And now, I’ve come to realize, treating my practice as a practice, and showing up to work everyday has helped me maintain momentum. In doing so, inspiration comes and goes, but I show up for the work, and luckily, inspiration usually comes. It’s a lifelong fascination (painting) I know it is something that I want to keep exploring. I am curious about paint in general…It’s potential uses and applications and how I can manipulate it to express what I was it to. I’ve made a commitment to myself to be sincere and stay engaged in the work. As it stands, I can’t imagine not being curious about paint! If that changes, I will let that evolve naturally, but I feel I will always return to it.
9. What artists – either contemporary or from history – have had an impact on you and your art practice?
There are so many, and not just painters, but many creatives! To speak to the painters, I would say the abstract expressionists (Joan Mitchell, Helen Frankenthaler, etc.) made a big impression on me. Their ethos of creating work to represent their inward world is an ethos that resonates with me.
I am also really fascinated by what contemporary Canadian painters are doing right now! There is so much cool and powerful work coming out of Canadian artists. I’m intrigued by artists who are currently exploring paint in interesting ways. I love artists such as Bobbie Burgers, Nicole Katsuras, Janna Watson, Johnny Taylor, Melanie Authier, and Rob Nicholls. Rob, is my cousin’s husband, and he is a great guy! He always has amazing sage advice and the way he approaches his practice…his dedication to his work, it’s truly incredible! I am fortunate to be able to bounce things off him because he is very generous with providing super profound advice.
10. What project are you working on right now? What would you like to do next?
Right now, I’m working on a series about transformation. I am excited about this one…it reflects the state I’m in right now. We’ve recently moved to a new house with a large peaceful yard, and this has been a time of reflection and growth for me. In future, I know I want to continue painting, pushing it, and exploring It, painting larger, etc. But I also do dream of one day having an interdisciplinary practice, with sculpture and performative works, while continuing to paint. For now, though, I’m contented with painting.
