A Year in the Making: Inside the School's Programme Planning

The seasons certainly play an important part in shaping the programme. Spring and summer are naturally popular times for our plein air courses, when there’s a better chance of warmer, drier weather. However, autumn and winter can be equally appealing, with a quieter atmosphere around St Ives that offers a different experience of working outdoors.

During the colder months, there’s something particularly inviting about being in the warmth of the studios, making it a lovely time for courses focused on drawing, still life or the figure. We also give careful thought to our shorter summer and September Festival art workshops, offering visitors the opportunity to experience something creative during their stay in St Ives, whether that’s experimenting with an unfamiliar medium or discovering a completely new way of working.

For me, a strong course often has a connection to St Ives, whether that’s through the landscape itself, the remarkable quality of light or the town’s rich artistic heritage.

Suzie

What tells you that an idea will make a strong course? Is there something distinctive you are looking for?

For me, a strong course often has a connection to St Ives, whether that’s through the landscape itself, the remarkable quality of light or the town’s rich artistic heritage.

I’m particularly interested in courses that draw inspiration from the influential artists who helped establish St Ives as a centre for modern art in the mid-20th century, such as Barbara Hepworth, Wilhelmina Barns-Graham, Terry Frost and Peter Lanyon, whose spirit of experimentation and willingness to challenge conventional approaches to art continue to inspire artists today.

But just as importantly, I’m always drawn to course ideas that offer something a little different, whether that’s an unexpected approach to a familiar subject or an opportunity for students to challenge themselves creatively. It’s about embracing that same spirit of experimentation and discovery, encouraging students to explore new possibilities and, ultimately, develop their own individual artistic voice.

What qualities do you look for when inviting a new artist to teach at the School?

First and foremost, I look for artists who are passionate about their practice and keen to share what they know. Being accomplished is one thing; a great tutor also needs empathy and patience, and the ability to connect with students of different abilities and adapt to how they learn.

The best tutors make students feel supported while inspiring them to push their ideas and abilities further.

A good tutor needs to be able to connect with each individual, communicate ideas clearly and adapt their approach to ensure everyone feels supported and encouraged. I think there’s something particularly valuable about tutors who can inspire and challenge their students in equal measure, creating a welcoming atmosphere while encouraging everyone to push their ideas and abilities a little further.

Colour drives my work. I’m fascinated by how colours interact through layers of paint, how its thickness affects them and the unexpected combinations that emerge. Composition matters just as much: my love of photography has shaped my interest in arranging shapes, colours and forms.

I’m also inspired by traditional textiles and art, especially their rich use of colour and pattern. After studying textile design, I travelled to Mexico, where the folk art, brightly coloured animal figures and intricate yarn paintings left a lasting impression. My background in screen printing has fed my love of layering, experimenting with materials and welcoming happy accidents. I move between drawing, painting and collage, choosing what best suits each piece.

I’m developing a collection of large-scale paintings inspired by a recent visit to Lanzarote. Using expressive brushwork, acrylics and oil bars, I’m exploring its colours and atmosphere, from palm trees and the ocean to its volcanic landscape. The paintings grew from charcoal studies and small colour sketches. I see each collection as a chance to capture the essence and feeling of a subject, rather than simply reproduce what I see.

How does working so closely with more than 30 artists affect your own work?

It’s almost impossible not to feel inspired when you’re surrounded by so many talented artists. A recent example of this happened when I was given a palette of leftover oil paint from one of Jill Eisele’s courses. I’d been meaning to return to oil painting for some time, so I took the palette home to my studio and, the following week, finally picked up my brushes again. That small moment of inspiration led me to experiment with water-mixable oils and eventually develop a whole new collection of oil paintings!

There’s something quite magical about our studios. Even now, walking into the Fuller Studio, with the familiar smell of paint and artwork covering the walls, gives me that little tingle of excitement and an overwhelming urge to pick up my brushes.

I feel incredibly fortunate to work in such a stimulating creative environment, with the opportunity to learn from so many artists, whether through conversations with our tutors, seeing their teaching in action or exploring the wealth of knowledge shared through our online courses.