ARTS + ENTERTAINMENT 44
ON THE ARTS MAP
ARTIST Q & A:
EVANGELINE THYME FINE ART
Can you tell us about your journey into painting and what drew you to oil as your primary medium?
My journey into painting began with still life and landscapes in watercolour and pastel. Oil was the next step in a desire for a new challenge in my forties. Everything shifted when I experimented with oils; oil offered facial luminosity, depth, richness, flexibility and drying time, where I could build layers, soften edges and achieve my intent.
How has living in the Kent countryside influenced your work and creative rhythm?
I love the countryside and the sea in equal measure. I love walking and I am often up a hill or along the beaches that run along the coastline. It gives you time to empty your mind, gain perspective and breathe, which is imperative with a creative mind.
How does your interest in psychology inform the way you approach portraiture?
My interest in psychology creates the narrative. I pay close attention to subtle cues, body language, expression and the relationships between figures. Inner dialogue and enigmatic expressions are also key for viewer interpretation.
Your work often centres on women with strong presence and narrative- what draws you to these subjects?
Women with a voice. Those that use it, challenge it, inspire it and have a magnetism. Also books. Women in literature equally conjure up great images in my mind for paintings as does the physical strength and emotion of dance.
Can you walk us through your creative process from concept to finished piece?
A painting usually begins with an idea sparked by something I’ ve read, observed or felt, which I develop through notes and compositional planning. I then organise a photoshoot to establish the figures, lighting and overall structure, giving me a strong foundation to work from. From there, I build the painting in layers, often using thin applications and glazes to gradually
develop depth and atmosphere. The final stages are more intuitive, refining edges and balance until the piece feels resolved both visually and emotionally.
Do you see your paintings as personal reflections, universal narratives or both?
Of course there is an element of my own personal reflection, but often the model can bring an extra layer of interpretation to the brief that sparks a new level of depth, but mostly universal narratives form the compositions.
Have viewers ever interpreted your work in ways that surprised you?
Viewers often bring their own perspectives and emotions, sometimes seeing narratives I hadn’ t consciously considered. It reinforces my belief in allowing the work to remain open rather than fixed. Those unexpected interpretations give the paintings a life beyond my original intention.
evangelinethyme. com evangelinethymefineart
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