In an Artist’s Studio

Despite its key role in the artistic process, the artist’s studio is perhaps the least exposed and known. Understandably, many artists are keen to preserve their space as exactly that; their sanctuary. When artists have to resign so much control of their work over to galleries and collectors alike, their studios can be spaces in which they alone have control.

Whether they take the form of a garden shed sheltering a watercolour-amateur from the noise of his household or are white wash studios built especially to house the artistic process, they are intensely personal spaces.

I was incredibly lucky and grateful when up and coming London painter Nick Goss agreed to welcome myself and a few other artists and art commentators into his studio recently. Goss has exhibited in the Saatchi and is currently preparing works for an October show at the Josh Lilley Gallery, by whom he is represented.

Goss’ starched white walls for plans, inspiration and preliminary sketches.

The room, at the top of a block of studios shared with other artists, is a long oblong white cube, with cold concrete and a strong, anaesthetising smell of turpentine. Yet paint marks these white walls like shrapnel having burst out of his paintings, tubes and mixing boards. The splatterings of colour and design on the walls seemed like unexpected, quirky tattoos on an otherwise very pale and pure body.

Artist’s work table.

Some of the images from which Goss is currently working.

I was particularly struck by Goss’ paintboard (below) with its random stabs of colour punctuating the grid like a gorgeous artistic board game of chess or draughts.

Goss’ paintboard.

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