Artist Spotlight: Ruth Fitton ROI

Who or what would you say are your main influences?

I've always loved the quiet harmonies of the Naturalist painters, such as Jules Bastien-Lepage and Emile Friant; and the Newlyn School - Stanhope Forbes and Frank Bramley. Technical influences are something I gather as I go. We are blessed in this age of technology to be able to see paintings from all around the world, past and present, at the tap of a screen - and I've learnt so much from so many.

You taught yourself to paint in oils. Could you speak more about that experience?

Although I never attended an art school, I have learned from a lot of people. Whether that was watching instructional DVDs, reading instructional books, or attending workshops (online and in-person). So it's been a self-curated education more than anything else - one with a heavy emphasis on constant solo practice, rather than the input of a regular teacher. I'm blessed to have been able to cherry-pick knowledge and input from around the world, whenever I feel like my work has plateaued. My main challenge for many years was a lack of community - so I am forever grateful to the ROI, who since 2019 have welcomed me into a community of inspiring, brilliant painters.

What do you feel is the importance of painting from life?

I would say that painting from life is the best teacher. Because the light is never exactly constant, or the model never exactly still, working from life forces you to make artistic compromises. It teaches you to replace 'how do I replicate what I see?', with 'how do I paint what I see?' I know of no better way to consolidate your skills and fast-track your artistic style.

I understand that you are trained as a musician? Do you feel that there are any similarities between music and painting?

Absolutely! There is a lot of cross-over. The main similarity I have found is the vast amount of work that goes on behind the scenes.

I also think in terms of performing a painting. In music we use speed, dynamics and different colours of sound, to tell the audience what we want them to feel. In painting we must achieve the same thing. This is done through the way you handle the paint and brushwork to convey focus, content and emotion.

Sentinel is your largest work at the ROI show. Is there a story behind it?

I loved the idea of painting a figure who was buffeted by circumstances, but poised enough to ignore them. The figure in Sentinel refuses to acknowledge the raucously circling seagulls, or the wind blowing her coat, or even the viewer themselves. She waits it all out patiently, eyes fixed on something we cannot see. The breaking light in the distance implies that the change she awaits is getting closer.