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Astrig Akseralian

Astrig obtained a Degree in Ceramics from the Central School of Art and Design, London in 1986. From there she went on to sell her ceramics through a number of galleries and shops around the country and internationally. Decorating was always the focus, even then. Her surfaces were full of wild animals and colour.

After a number of years selling her ceramics, Astrig had a career change moving to work in the film industry as a painter in numerous Creature Effects Departments over a 27 year span. Many films and many locations later she made the decision to leave London and the film industry moving to Cambridge where she now paints full-time.

"My painting style has evolved gradually through experimenting with a huge variety of media. I usually work on a series of paintings, on paper but also increasingly on wooden panels as I like the tough surface which allows me to scratch through the paint and sand back. I initially build up acrylic paint in many layers, working quickly and without having a definite plan of where I am heading. A joyful stage. As the work progresses I slow down and consider my composition, editing backwards and forwards until I feel happy with the balance. Colour has always excited me,
the contrasts and the combinations. I am always wanting to see the freshness, energy and movement that is so easily achieved in the initial painting process. So much harder than it looks!"

"For some years my painting focus had been landscapes and particularly allotments. I love these places because they are complete worlds in themselves. They are quirky and always unique. As a keen gardener and vegetable grower I feel the sense of promise and hope they hold each new year."

"In my recent work I have found myself, unconsciously, returning to my pre-loved themes. As well as landscapes and figures, animals have been appearing in my paintings and my work has gradually taken on a more narrative quality. My repeating themes celebrate the relationships that we have with the soil and living creatures. Ancient and deep connections. It is essential for me that I depict all of these elements with the joy that I feel for them.”

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