Orlanda Broom was born in the United Kingdom in 1974. She studied Art and Design at the Cheltenham School of Art in England as well as at the Winchester School of Art in Barcelona. She has worked as an artist ever since earning her master’s degree in 1997. Broom has completed large-scale commissions including the 4x4m piece for the lobby of the new Four Seasons Downtown New York and a large abstract for the Mandarin Oriental in London. Her work has also appeared in exhibitions in London, Paris, and South Africa. The artist lives and works in Hampshire on the southern coast of England.
The artist creates lush, tropical landscapes that take the viewer into a dream world. These abstract scenes could be from anywhere in the world: in exotic gardens, at the heart of the jungle, or in our own imaginations. Broom’s works are exceptionally lively, seductive, and radiate with rich colours. Using layer upon layer of acrylics and resin, the British artist gives her images astonishing depth, which is further enhanced through very sophisticated use of glitter dust. In the LUMAS pieces, this layered appearance is shown off in an especially impressive way with prints mounted under glossy acrylic glass.
With their circular shape and shimmering, metallic photo paper, these artworks are instantly recognizable. They appear timeless, intoxicating, and enigmatic – like windows to another world.
Self-taught or art school?
Art school
If you could own one work of art what would it be?
That’s hard. Today’s answer would be Richard Wilson’s immersive installation 20:50 which made a big impression on me when I saw it at the old venue Saatchi Gallery a long time ago. You had to walk into the gallery space filled with black oil to waist height… surreal and unnerving it felt like walking a gangplank into a flipped reality. Similar to AR now, you physically respond to what you see, not what you rationally know. Wilson’s installation was dramatic but also peaceful so I’d quite like that installed in a beautiful space with a big windowed roof, mirroring the sky.
But a different one tomorrow… I refuse to commit to just one!
How would you describe your style?
I’d say my paintings are immersive… in 2D! I paint quite dense, layered landscapes and typically use a vibrant palette. They can seem romantic, celebratory of nature; I try to lure the viewer in with colour and lush, tropical depictions but we don’t know when or where this place is… there’s no wildlife or trace of human existence.
Can you tell us about your artistic process?
In terms of actually painting a painting, the composition is worked out on the canvas, it’s an intuitive and organic process. Recently I’ve worked on different surfaces and this has meant my approach has changed. I’ve painted on both aluminium and wood panels for my exhibition ‘Rewild’; the hard metal encourages bold, decisive marks and the result is quite defined whereas the wood panels are softer, more absorbent and it’s interesting to work with the natural grain coming through. In ‘Altered Scapes’ a stormy sky is the result of the grain of the wood and the initial washes of paint that I decided to keep and compose the painting around.
Is narrative important within your work?
Yes, I’m trying to convey my thoughts about the environment, wilderness and rejuvenation but without being too prescriptive; to keep it open to alternative interpretations. And the way I see it is that the paintings go off and have their own kind of existence, quite separate from me and my narrative. So, it’s important to me not to close off the possibility that someone will read it completely different.
Who are your favourite artists and why?
Favourites who I fell for early on at art school and have sustained are Gillian Ayres, Hockney, Georgia O’Keeffe, Rousseau, Albert Irvin, Fiona Rae, Louise Bourgeois, Leonora Carrington, Cindy Sherman.
Fellow artists GL Brierly, Vasilis Avramidis, Gordon Cheung, Lisa Wright, Hannah Brown, Gill Rocca, Angela Lizon, Andy Harper, John Greenwood, Susie Hamilton, Francisca Pinta, Louise Bristow, Ptolemy Mann, Damien Flood, Liz Elton… just a few who’s work I love.
What or who inspires your art?
As a landscape painter, I take inspiration direct from nature… I’ve travelled a bit and have lots of photographs I go back to. Now that I’m in the countryside my immediate surroundings are a constant source although, having said that, London offered a lot of inspiration – I’d go to Kew Gardens regularly and it is extra special finding those green spaces in a city. I love botanical art and have quite a lot of reference books.
Where’s your studio and what’s it like?
I moved out of London a few years ago and one of the upsides is that I have a much bigger studio. I’m now based in Hampshire, the studio itself is on a small industrial estate… there’s a traditional signwriter next door and so there are often huge steam engines sitting in the yard. I’m on the edge of a woodland owned by the forestry commission and I walk my dog there every day. But best of all is having a large space so I can have several large paintings on the go at one time and different work areas makes it really practical… I love it.
Do you have any studio rituals?
Not really… I keep regular hours, listen to a lot of podcasts (more for company of human voices) and have a big tidy up every couple of months otherwise it gets out of control.
What are you working on now?
I currently have an exhibition of paintings made over the last year on show at Grove Square Galleries. So, I am having a little breather and catching up on things after quite an intense period of work. After painting large scale for the show, I’m enjoying working on smaller things for a while, some paintings on paper which will be for the upcoming Art Car Boot Fair.
Where can we buy your work?
You can buy my paintings through Grove Square Galleries in London.
