Biography

Abbey Walmsley’s artistic abilities were obvious from an early age.

Abbey began exhibiting and selling her artwork at the age of fourteen. She studied art at the Dorchester Thomas Hardye School in Dorset, earning the opportunity to work with the Slade School of Fine Art, The Royal College of Art and The Royal Academy of Arts, London.

At the age of eighteen Abbey’s artwork was selected by HRH Prince Charles as a finalist for the Young Artists’ Britain Competition. Abbey met with Prince Charles at Hampton Court Palace, and her art was displayed alongside artworks by the Prince in an exhibition that toured the United Kingdom.

Abbey Walmsley Fine Art was launched in November 2000.  In the spring of 2001, Abbey presented a solo exhibition at the Prince of Wales Trophy, Royal Berkshire Polo Club. Following this, she was introduced to the Newmarket racing scene by some of the most respected racing trainers in England. Abbey placed her second solo exhibition in King Charles II’s Apartments at Palace House in Newmarket in September, and received a commission from the British Bloodstock Agency, commemorating their 90th anniversary.

In the summer of 2002 Abbey’s work was selected by Christies (London) for the annual SEA Exhibition. Two of Abbey’s paintings were given prominent central positions in two of Christies’ key rooms. Abbey was awarded the ‘Best Newcomers Award’ at a presentation on the opening evening.

In November 2002, Abbey’s artwork was introduced to The Halcyon Gallery (Knightsbridge, London) with the gallery representing several of her equestrian artworks. Abbey was invited to participate in the ‘Art of Living’ exhibition from September through November 2003, displaying ‘past and present masters of painting’ at the Halcyon Gallery, Harrods. Abbey’s artwork was given a first-floor window and was displayed throughout internal departments alongside works by Picasso, Rembrandt, Warhol, Thorpe, Hunt, and Harris. In the Autumn of 2003 the Halcyon Gallery arranged for a personal showing of Abbey's equestrian art works and a private meeting with her Royal Highness Princess Anne.

‘Regarded as one of the youngest and best realist painters in the world, Abbey’s art is becoming much sought after. Her art displays both movement and action within her acute portrayal of light, combined with technical ability and the sheer scale of her works. She aims to capture the most difficult illusions of light and movement in her subject matter and is always seeking more challenging images to portray in both pencil and oil paint.’ 
HARRODS, ART OF LIVING CATALOGUE, SEPTEMBER 2003

Abbey’s own photography is the basis for much of her artwork.  She attended the St. Moritz 2004 Polo World Cup, and several of her photographs were used for the St. Moritz report featured in Polo Times Magazine. Abbey also attended the 2004 US Open Polo Tournament in Palm Beach, Florida capturing several exhilarating shots. The high drama caught through Abbey’s lenses was featured in the Polo Times Magazine’s US Report.

Also in 2004, Abbey established the Abbey Walmsley Fine Art Conservation Outreach Programme. Through this programme Abbey’s artworks reach a wide spectrum of viewers and increases public awareness and funding for various wildlife conservation projects.

Between May 2004 and August 2006, Abbey’s studio was located in Vancouver, Canada. Whilst continuing to paint and sketch, she attended events featuring her artwork, held both private and public showings and exhibitions, and travelled across Canada and the United States taking pictures of her favourite wildlife and equestrian subjects to expand her photographic archives.

In November 2005 an article and a collection of Abbey's artworks were featured in 'Art of England' Magazine. Later that year Abbey Walmsley Fine Art established the Community Outreach Programme to support the communities that support the activities that form the subject matter of Abbey’s artwork.

In January and February 2006, Abbey held exhibitions in Dallas and Houston, Texas USA. In the second quarter of 2006 Abbey's equine artwork was featured in America's 'Horses In Art' Magazine, and an article featuring her birds of prey paintings was published in the UK based 'Austringer' magazine. Later in August 2006, Abbey Walmsley Fine Art relocated back to Europe and was based in Co. Kildare Ireland until August 2008.

Abbey returned to St. Moritz in 2007 to photograph the 100th Running of White Turf – the subject of her recently released artwork – and again in February 2008 to capture more of the thrill and excitement. Abbey has now chosen Austria as her permanent base and has her studio located close to Vienna. Currently Abbey is creating a very challenging pencil drawing of a trotting race on the frozen lake at St Moritz held at the 2008 White Turf event.

A prestigious private bank in St Moritz will showcase the original oil painting '100th Running - White Turf' throughout the month of February 2009 over the duration of the White Turf event.

Abbey frequently travels throughout Europe and abroad for private commissions, solo exhibitions and private showcases, photographic opportunities, and in support of various conservation efforts. Most of Abbey’s artwork is created on the basis of private commissions, and is held in private and public collections in England, France, UAE, Ireland, USA, Canada, Greece and Africa.

Included among Abbey Walmsley’s influences are Steven Dews, John William Waterhouse, Cuneo and Holbein. Abbey holds a degree in English Literature and Creative Writing from Lancaster University, England.

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Press Article - Art of England Magazine 'Art On The Wild Side'

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Art Of England Magazine Article - Abbey Walmsley Fine Art

ABBEY WALMSLEY: ART ON THE WILD SIDE
by Adam Grossman

She sold her first painting at just 14 and has been named as “one of the youngest and best realist painters in the world”. Her work has hung alongside Picasso, Rembrandt and Warhol, and been personally selected for shows by HRH Prince Charles. She has been presented with a best newcomer award by Christies London and held a private showing for HRH Princess Anne. It’s not a bad portfolio – especially when you consider that Abbey Walmsley is just 26.

The UK-born realist wildlife painter currently resides in Vancouver, Canada, and continues to challenge the very notion of what it means to be a wildlife artist. As well as continuing to paint stunningly original wildlife – including tigers, lions, bears, raptors, eagles and wolves – she has also set up her own company, Abbey Walmsley Fine Art, and community and conservation outreach programs, which enable her to donate a percentage of sales and give back to the groups and animals which so inspire her work.

Here she talks to Art of England about the pressures put on young artists by the industry and the artist themselves, and why she is more influenced by an industrial painter than any of the wildlife greats.

You’ve achieved a lot as an artist for someone so young. What are the challenges in the art community for someone of your age?

I’m often told by people that, after seeing my art, they expect me to be much older and a man. It struck me as really funny the first time it happened. I’d never even thought about the gender of a painting. I can understand it in part – my paintings can be seen as masculine in that they are punchy and direct.
The age issue can be a problem as a young artist – even to ones self. I kept away from a lot of London galleries because I didn’t think my technique was good enough, and then I was actually really surprised when I started getting interest in my work.

Did a lack of inspiration in the UK lead to the relocation to Canada?

It was more a desire to get closer to many of the animals that I cover in my work, in their natural habitats. I had the opportunity to paint birds of prey in the UK, but to actually work with a bald eagle that’s not held in captivity is very different.
I also think it’s positive for any young artist to explore living in different countries and environments, to see how that inspires and changes you. I am always intrigued by the different colours and light I see in each country I visit. The light in Vancouver is so dramatic and it’s taught me to view nature in a different way.

There are a number of prominent wildlife artists that come to mind. How do you draw on their influences?

It’s never really been wildlife artists that have influenced me. Of course, anyone who is interested in wildlife art when they’re young knows David Shepherd. But I put his work down by the time I was 14.
My earliest influences, and those who have remained with me, were Holbein and Constable for their accuracy. Constable particularly intrigued me because of how he was still able to produce something so true despite the thickness of his paint.
Perhaps the most interesting influence on me is Cuneo’s industrial paintings, which are all about the freedom of movement. You can smell the industry with his paintings and I hope people take those same feelings away from my work – the smell of the grass and the damp of the water, for example.

What do you hope to capture with your art for the viewer to take away?

I hope they take away a true impression of the animals – their power, grace, movement and enduring beauty. And what’s really important to me is revealing how the animal behaves in its habitat and why it behaves in that way.
The keys to my work are movement, light, colour and accuracy. These are the mechanisms by which the imagination accesses the essence of the subject. In that way, I hope my art expands the observer’s comprehension of nature and inspires an appreciation of animals and their habitats.

You seem to cover a lot of different subjects in your art. Have you yet to find a focus for your creativity?

I’ve never wanted my work to settle in one particular area. I always want to keep evolving as an artist, exploring new ideas, taking on new challenges and testing my techniques to the fullest. There’s no point in painting 10 tigers in a row or only Indians.
But I also know through experience though how tough it is for young artists to develop and test themselves. Galleries and the marketplace put a lot of pressure on young artists to keep with what works and not challenge themselves. This is a huge pressure for any young artists to deal with, and it’s sad and frustrating.

Why are conservation and sustainability so important to you?

Regrettably, many of the wildlife subjects captured in art are at risk of extinction. I therefore support organizations and groups involved with wildlife conservation and sustainability because I simply wouldn’t be able to do my work without them. It is so important to me to be able to support groups that care for endangered species.
Kabir, for example, is a Barbary lion with the John Aspinall Foundation in London, which specialises in breeding and releasing endangered species. In this case, there are no true Barbary lions left in the wild any more. By visiting Kabir I was able to get a true impression of his sheer size, power and ferociousness, which makes African lions seem like household pets!
We are also involved with a number of other conservation groups and those interested in sustainability in both North America and Africa and are always on the lookout for partnerships with those who hold the same values as us.

What’s coming up for Abbey Walmsley Fine Art?

We’re certainly going to be exploring more wildlife in North America, including working with wolves in the snow this winter and eagles north of Vancouver. We also have two large exhibitions lined up in North America for early next year. And, of course, frequent visits to the UK – we’ll be back for a visit early next year.

For more information on Abbey Walmsley Fine Art visit: www.abbeywalmsley.com

 

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