sherree valentine daines


Sherree makes no secret of her love for the timelessness of these images...sunny days, innocent friendships and


nature and its most vivid and beautiful. The same rules apply when it comes to


her working methods. She employs both a traditional sketchbook and a state-of-the- art camera; the artist’s materials she uses vary from established oils and canvases to the most cutting edge primers and fixers. Her studio says it all with old photographs and paintings jostling for position with contemporary sketches and the luminous screen of a laptop. The world that Sherree has chosen


to describe in her new collection is a timeless one. The series began with the daisy field which stopped her in her tracks. Sherree comments: “This really was a mesmerising scene. I had never seen a field quite like this one before and, unusually for me, I decided to focus on the flowers in the foreground. I made the two small figures almost secondary - very much a part of the landscape around them. I feel this is a particularly painterly composition; I worked and overworked with the oils to make each daisy a distinct and living thing, and the finished piece has given me a great deal of pleasure.” Sherree makes no secret of her love for the timelessness of these images. As a mother of four she loves to see children following in the footsteps of generations of other children before them, enjoying some of the best things that life has to offer.


Sunny days, innocent friendships and nature and its most vivid and beautiful. Creating this series was not all pain sailing however as Sherree explains: “I have taught life classes to students for many years and I always encourage them to make a series of ‘five-second sketches’ when they first look at their model. These are an incredibly useful tool for two reasons; firstly because they force you to really look rather than to make assumptions, and secondly because once you are back in the studio working on a composition, they give you a real insight into the form and dimensions of the figure. If your subject is moving as you sketch and photograph, it allows you to capture their movements in a way that somehow a camera doesn’t quite do. As with all my paintings of children I made masses of sketches because as with all little girls, staying still even for a moment didn’t come naturally. I was thankful to have my camera with me as well to capture the colours and the shadows of each scene. These really were a series of memorable days in the sun - fun for the children and a gift for me and my easel.”


Visit the web site to view these luminous English Scenes.


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