G P Sainsbury
A Brief Biography
After gaining a Design degree and P.G.C.E. at University, I first went into teaching. In the early 90's I moved to SW France with my wife where I worked as an Artist and designer - Painting and exhibiting in Gondrin and Auch in the Gers and later in Madiran in the Haute Pyrenees. Also freelance art and design work - from Business cards to Wine bottle labels (even sign writing for a local Epicerie and Bar.)
I returned to UK with my family and set up this new studio in Long Bredy.
Painting in oils, en plein air, my recent work has concentrated on the Dorset coast and the area around my studio in the Bride valley. In these landscapes I try to record the ever changing weather, light and atmosphere of the location.
As a relief from land and seascapes (and harsh weather,) I produce small, quiet, intimate still life paintings which allow me to concentrate on careful observation and in particular the representation of light and reflections.
My studio in Long Bredy is now closed as from the 31st Oct 2022. I returned to South West France to live but after a long search and much thought I am now - August 2023 - in the West of Ireland where I hope to open a new studio soon.
Where you can find my work
Town Mill Galleries - Lyme Regis
The 'Sou-Sou West' Gallery - Lyme Bay Arts - Symondsbury Estate
https://symondsburyestate.co.uk/shop/the-gallery/
Tincleton Gallery - Dorchester
Press
June 2018
'A parcel arrived a couple of days ago containing several copies of the June issue of 'The Dorset Life' Magazine. Inside there's a double page article about yours truly. I got a phone call and then gave an interview back in Feb. and thought nothing would come of it as I hadn't heard from them.'
My working method
Observation is the key to recording and hence communicating my experience within a location.
My work has always been figurative rather than abstract but I aim to give my personal response to a subject not merely reproduce the image in a photographic way. I enjoy the challenge of working ‘en plein air’ being particularly motivated and inspired by the light just before or after storms or showers and at dawn and sunset. My usual working method is to make sketches on site in pencil, pastel, watercolour or oil, sometimes quite finished and successful as paintings in their own right but sometimes they need to be quick rushed statements as a note to record my initial response to the light and atmosphere at the time. I then assemble and study these sketches back in the studio which allows me to produce a more coherent finished painting, then, if successful, I may pursue the idea as a larger piece. The difficulty is to retain that spontaneity of the initial sketch in the larger studio painting.
Although intensely observed my work is constantly tending away from the accurate recording of detail towards the impressionistic record of my engagement with the natural scene before me. I have a desire to capture the essence of the subject, leaving the viewer a greater chance to find their own interpretation and response.