When did you first think that you wanted to be an Artist? In my teenage years, I felt a strong sense of wanting to try and put down in paint, the sense of wonderment and intimacy. I felt growing up in the landscape on a remote hill farm in Mid Wales, I wanted to find a voice for myself. I left school at 16 and went to work alongside my father on the farm; but I wanted to learn about painting, and not in an isolated way.
How did you train as an artist? Firstly in 1980, I did a foundation course at Cardiff College of Art, progressing onto a BA in Painting at the Chelsea School of Art, then onto an MA at the Royal College of Art. Going to Art school in the 80’s was a fantastic opportunity, to not only have your own studio space within the college, but most importantly to meet your contemporaries; build strong friendships and a sense of belonging to a group of young people. Questioning, exploring and discovering new ideas, new ways of seeing. Practising Artists would visit the college and spend time going through your work, giving critiques and practical help. I look back at that time, as an extremely encouraging way to arrive into London, where no one from my family had been before.
How did you decide on your subject and style? My sense of what and how I paint is rooted in direct observation, painting en plein air (in the open air). A direct reaction and response to the land and being present in the moment.
Where do you produce your work? I bring these paintings back to the studio in London from Wales. It gives me a fresh perspective on the work, and in an urban environment. I can then continue working on the paintings if I feel there is something lacking. By using my memory, with a real sense of the place I have ingrained in me. If I still feel the painting is not holding it’s own character, I will return the painting back to Wales, where the
freshness and the spontaneity of painting en plein air in the landscape, gives it the autonomy I am searching for.
Who are your favourite artists? I am always drawn to the artists that are more autobiographical. I love the emotion in Constable’s work. I always find something helpful in Cezanne. I like the American painters of the 20th century. I think Hockney is such a life force, with an ever curious searching mind to making images and pictures.
Have any other artists influenced your work? I spent 20 years with Lucian Freud, working with him, where I observed daily his determination and his attempts, to try to paint his best painting he possibly could do. He pushed himself with will power and concentration, and a love of what he does. He taught me to have a curious lively mind, be in high spirits and get the work done; put the hours in. All the great artists, all work really hard, but work really hard at something they love doing. That is what I’ve learnt the most, that, and being honest to yourself.
Where can people find your work? I have an exhibition running at the moment, of my welsh landscapes at Gainsborough house in Sudbury. It is on until 11th October 2026.
David has also exhibited paintings with Marlborough Fine Art, London in 2004 and 2011, Pallant House Gallery, Chichester in 2012, and Faurschou Foundation, Beijing in 2012. His painting of Freud’s studio, Table for Paints and Brushes, 2017 is held in the British Government Art Collection and currently hangs in Downing Street. He also serves as the Director of the Lucian Freud Archive. You can also find David on instagram @davidelidawson
Richard Embrey @richardembreyart 99
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ENTERTAINMENT ART GUIDE
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