Libby Farren-Price

Within her practice, Libby embraces the natural world and investigates human interaction with natural spaces. Her paintings are characterised by their dream-like and utopian nature. With escapism at the forefront of her practice, she tows the line between distraction and hope. With an intensified desire for escapism in modern day life, particularly in the city, some peace can be found within Libby’s paintings. Recognising the duty to do justice to the places, as well as the privilege of artistic licence to construct her landscapes, she balances intuition with deliberation.

Libby endeavours to explore the power of art within the narrative of environmentalism. She questions whether landscape painting can be considered activist art. Libby is inspired by Rebecca Solnit’s thoughts on the power of art; ‘To make us think of the consequences of our actions; to feel a part of all life on earth; to perceive the beauty of the natural world and our utter inseparability from it.’ Libby’s work aims to contribute to the centuries long conversation of landscape painting, however within a new space of urgency: the current climate crisis.

“Within her practice, Libby embraces the natural world and investigates human interaction with natural spaces. Whether that be a sunbathing, gardening, climbing a tree or sitting in the park, Libby’s paintings zoom in on these small acts of connection with the earth.”

6 questions with Libby Farren-Price

We ask our emerging artists 6 questions to uncover what drives their work, practice, and creativity.

What themes or questions do you find recurring in your work?

What I’m most interested in is a human relationship with the environment. I mostly depict scenes of people interacting with natural spaces, whether that be sunbathing, gardening, climbing a tree or sitting in the park. I am drawn to these small acts of connection with the earth.

Can you describe a pivotal moment in your journey as an artist?

I think that The Jellyfish Sting was a really pivotal painting for me. I felt like my practice had gone stale but introducing figurative subjects suddenly injected a life and energy into my work. I felt excited by the new genre of painting that had opened up to me.

What materials or processes are most important in your practice - and why?

About a year ago I made the switch from acrylics to oils, and I can never go back- I don’t know what took me so long! My reference photos are a mix of family archives and photos I have taken. There are often stages of collaging and sometimes sketching, but I love to get straight into the painting, drawing out the main shapes and getting colours down. Other than my brushes, I wouldn’t say that I am particularly loyal to any specific materials.

How do you want people to feel when they experience your work?

I want people to reflect on their experiences of being in nature. Ideally, I want to encourage a hopeful and optimistic view of the environment.

What does a typical day in your studio look like?

I usually cycle into the studio, change into my grubby painting clothes and crack on with painting for as long as I can until I feel like I might ruin it if I keep going. I get to a point everyday where I have reached my limit of good painting, and I know better than to keep pushing it.

What dreams or hopes do you have for your artistic journey?

I would like to continue to sell my paintings, broaden my network of amazing creative friends, go on some residencies, and keep building on my practice. Long term, a dream of mine is to have my own gallery, which would also have a community arts space for workshops, talks, art therapy etc.