Between Wind and Water Käsinmaalattu öljyväreillä, juuri sinun seinillesi

Clare Wardman: An Exploration of Fragment and Process

Clare Wardman (born 1960) is a British painter based in St Ives, Cornwall, where she resides alongside her husband, Scottish Painter Iain Robertson. Her artistic journey began with a B.A. Hons Degree in Fine Art Painting and Drawing from Exeter College of Art and Design in 1982, followed by an MFA from University Falmouth in 2016. Wardman’s practice is fundamentally rooted in a conceptual exploration of ‘fragment,’ perceiving it not as deficiency but as a catalyst for creative genesis—a dynamic interplay between loci (places) and her immersive studio experience. This approach informs her ongoing engagement with painting and drawing, consistently investigating the series as an open-ended form to convey time and unfolding processes. Her formative years were shaped by exposure to the landscape paintings of Wilhelmina Barns-Graham (1912–2004), whose studio in St Ives served as a crucible for artistic experimentation and dialogue during the mid-century period. This connection instilled within her a deep appreciation for atmospheric realism and the expressive potential of color—a cornerstone of her artistic vision that continues to resonate throughout her oeuvre. Wardman’s MFA studies at University Falmouth solidified her commitment to abstraction, prioritizing material exploration and experiential engagement—a core element that defines her distinctive style and distinguishes her work from conventional representations. She actively participates in collaborative projects with fellow artists Iain Robertson and Siobhan McLaughlin, fostering interdisciplinary research and development and enriching her artistic practice through dialogue and shared creative endeavors. Wardman’s career has been punctuated by significant accomplishments recognized internationally. Notably, she was awarded HIGHLY COMMENDED for her contribution to the Royal West End Art Academy Open Painting Exhibition in 2009 and received HIGHLY COMMENDED for ‘Images of Our Earth Inheritance’ at Bayer plc’s Art Collection in 2005—demonstrating a sustained dedication to artistic excellence and garnering critical acclaim. Her work has been showcased in prestigious venues such as Tate St Ives, Edinburgh Arts Festival, and The Women's Art Collection, cementing her reputation as a respected voice within contemporary art discourse. Collaborations with fellow artists Iain Robertson and Siobhan McLaughlin have enriched her artistic practice and broadened her engagement with diverse creative perspectives—reflecting an openness to experimentation and innovation that characterizes her artistic trajectory. Her distinctive style is characterized by bold color palettes—often juxtaposed against muted tones—and geometric shapes that inhabit abstract expressionist compositions. Wardman’s paintings prioritize materiality, reflecting a meticulous attention to surface texture and pigment layering—a testament to her mastery of traditional painting techniques while simultaneously embracing experimental approaches. She seeks to capture the essence of ‘time’ and ‘process,’ conveying dynamism and evolution through carefully considered visual elements—drawing inspiration from landscape painters such as Wilhelmina Barns-Graham and prioritizing observation and rendering light and shadow with exceptional skill. Wardman’s work stands as a compelling embodiment of the evolving artistic landscape of Britain since 1945, reflecting both formal innovations and conceptual concerns that resonate with broader cultural trends. Her engagement with collaborative projects—particularly ‘Interstitial Spaces,’ undertaken alongside Gavin Osborn—represents an important contribution to interdisciplinary research and development within the visual arts realm—demonstrating a willingness to engage in dialogue and experimentation across disciplines. Furthermore, her participation in The Women's Art Collection ensures the enduring preservation of her artistic legacy, fostering a deeper appreciation for her oeuvre and its role in shaping contemporary art discourse—a testament to her unwavering dedication to exploring ‘fragment’ as a generative force—a core element that continues to inspire artists and scholars alike.