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. Click here for the Article in Pace Maker Magazine.

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 Centenary meeting of White Turf – the subject of the oil painting ‘100th Running – White Turf’ and again in February 2008 to capture more of the thrill and excitement from lake St Moritz. In February 2009 Abbey relocated the studio from Zurich, Switzerland to Vienna, Austria.

A prestigious private bank in St Moritz showcased the original oil painting '100th Running - White Turf' throughout the month of February 2009 over the duration of the White Turf event, much to the enjoyment of their clients.

In March 2009 Abbey Walmsley Fine Art began talks with Panthera, a leading big cat conservation organisation founded in 2006 whose mission it is to conserve the 36 species of wild cats ( www.Panthera.org ). Abbey Walmsley Fine Art is very proud to have partnered with Panthera to assist with Jaguar conservation efforts. The painting 'Breaking Shadows' will support Panthera's Jaguar projects through the sale of the original artwork and Archival Limited Edition Prints as well as utilising the artwork to bring attention to Panthera's Jaguar Projects. Abbey hopes to develop the relationship further to include Snow leopard conservation.

In September 2009 Abbey was introduced to Room To Read (www.roomtoread.org) by one of her clients. Room to Read is a charity founded by John Wood, who quit his senior executive position at Microsoft to form a global team to work within the rural communities of Vietnam and Nepal. Their aim was to build sustainable solutions to children’s educational needs. The Charity has now grown, and provides Schools and Libraries within nine countries. So far it has built 765 schools, 7,168 Libraries and benefited 3.1 million children. To make Room to Read’s fundraising efforts as optimal as possible they partnered with Quintessentially, the world’s largest private members club (www.Quintessentially.com ) and The Financial Times (www.ft.com) more information on The Financial Times Seasonal Appeal can be found here: http://www.ft.com/indepth/seasonal-appeal . A global auction featuring a number of luxury collector’s items took place from 21st - 30th November 2009, raising a total of £106,760.08. The auction included 5 works previously commissioned by one of my a patrons and a donated commission from Abbey that she will begin in the new year. The original paintings - 'Fierce Pursuit' and 'Caught' were showcased on the auction launch evening at Quintessentially Soho to inspire those wishing to bid on the private commission.

Abbey Walmsley's work was featured in the US national polo magazine - Polo Players Edition November / December 2009 edition to find out more visit www.poloplayersedition.com

In February 2010 Abbey was in Jordan working with Stellan Lind's Roman Army and Chariot Racing Experience and has collected dramatic material for future projects. During Abbey's trip she also had the pleasure of working with The Royal Society for the Conservation of Nature down in Wadi Rum at the Oryx Project, and hopes to shortly be using her field work studies to portray this endangered icon of the middle-east.

In the April issue of Art of England published late in February 2010, 'Dynamic Realism - The Art of Abbey Walmsley' was featured over four pages, and succeeded in bringing 'Dynamic Realism' to the attention of many art enthusiasts, collectors and art industry professionals both in the UK and Internationally. A copy of the article can be read by clicking here.

Gallery 27 on Cork Street in Mayfair, London was the chosen location for Abbey Walmsley's major solo exhibition in March 2010. The exhibition displayed 12 original works, exclusive Artist Proof Limited Edition Archival Quality Prints and new commissionable projects. The event also promoted the organisations Abbey Walmsley Fine Art is partnered with and supported a number of philanthropic projects. The exhibition was very successful in introducing collectors to a new standard of quality within the genre of realism for original artworks. The extraordinary quality of our Archival Prints was also noted and commended. Following the exhibition, key works of Dynamic Realism will be showcased throughout Abbey Walmsley Fine Art's corporate, institutional and private network both in the UK and Europe.

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

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

Return to Main Menu

Press Article - Art of England Magazine 'Dynamic Realism - The Art of Abbey Walmsley'

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

Press Article - Pace Maker Magazine 'Young and Happy to Burn the Midnight Oil'

Gallery and Exhibtion Listings

Main Menu

Art of England Magazine, April 2010

DYNAMIC REALISM - The Art of Abbey Walmsley
by Sophie Sharp

The exhibition: 'Dynamic Realism - The Art of Abbey Walmsley' will showcase the largest collection of Abbey Walmsley's works exhibited to the general public, bringing the realist genre of Dynamic Realism to a broader group of discerning collectors. The exhibition will bring a fresh approach to buying and commissioning meticulously crafted works of art, combining both clients art collecting ambitions and philanthropic desires.

At 24 Abbey Walmsley was already recognised as a contemporary master painter as her works hung alongside Picasso, Rembrandt, Warhol, Harris, Hunt and others during the 'Art of Living' exhibition housed throughout Harrods, London in 2003. The exhibition catalogue described Abbey Walmsley as one of the 'best realist painters in the world' ('Art of Living' Sept 2003, Halcyon Gallery) Last time Abbey Walmsley was featured in The Art of England in November 2005 she was about to attend two solo exhibitions in both Dallas and Houston, Texas USA. Now we catch up with her before she embarks on a major solo exhibition in the heart of Mayfair, London.

Can you explain what Dynamic Realism is and why it is different from other genres of realism?

Combining Realism and Illusionism is not new. However, being able to bring movement 'alive' within a work that also conveys a three-dimensional method of painting arguably is. A work of Dynamic Realism contains six key attributes. It is these attributes used in combination with each other that has moved conventional realism into new territory. The key attributes are: accuracy, colour, light / tone, psychology of the subject(s), movement or time perspective and thickness of paint / three-dimension. Dynamic Realism is the result of trying to get beyond the commonly portrayed mathematically based illusion of space (perspective). Perspective brings forth a whole new level of complexity when trying to portray an accurate moment of time, in conjunction with a painting technique that is always exploring boundaries of thickness, texture and accuracy.

Does Dynamic Realism only cover wildlife and equestrian related subjects?

No, I aim to use Dynamic Realism to preserve many cultural, environmental and historical subjects. What is important is that the subjects chosen can utilise my technique in either oil paint or pencil. Dynamic Realism works when there are two or more component parts, even if only one component is visible to the viewer. The subject must be reacting to or with something, and carry a level of energy or force that has the ability to captivate the viewer.

What was the driving force behind the development of your technique?

Dynamic Realism has been a product of asking questions: Is there a higher level of accomplishment that has yet to be achieved in the genre of realism? Is there a realist technique that reaches beyond ‘Renaissance Classicism’? A method of realist painting that is not lessened or duplicated by photographic or digital technologies, that provides a renewed sense of uniqueness and desired value in the modern market? Questions like these have driven over 10,000hours of exploration of myself as an artist both technically and mentally, and many years of assessing the market and listening to clients.

Another key driver to the development of Dynamic Realism was the decision to pull away from the detrimental pressures placed on artists from high-end galleries, and a desire to put the clients first, providing them with a higher level of personal service and the highest quality of art possible.

You say that a relationship with a high-end gallery can be detrimental to artistic quality and development, and this impacts both collectors and artists negatively, can you explain this?

The approach galleries take with their artists is much the same whichever genre of art the artist chooses to practice. It is an approach of driving the artist to produce as much work as possible as opposed to taking the time necessary to maintain the quality of each piece. Under this model, the more the art sells, the more the gallery pushes the artist, who has to cut corners to produce faster. With gallery's often taking up to a 70% commission on each piece, the artist often acquiesces to this pressure for volume over quality so as to make a reasonable return on their work. This "Faustian Bargain" maybe fine if the genre of art is quick to produce and its quality is not so easy to judge (being relative only to the trend of the market / artist). However, with the time required to produce quality realist works, this model does not work for either the patron or the artist. I am not saying that galleries do not have an important role in the recognition, development and nurturing of artistic talent. Indeed, many genres are reliant on galleries to ensure the cogs in the market go round.

However with some genres, in particular the genre of realism, this approach leaves the collectors at a distinct disadvantage. Realism in general, if done well, takes time to produce. If realist artworks are in high demand from the gallery, the artist has no choice but to produce at a faster production rate and the quality of the work becomes poorer. The faster the work sells, the higher the price commanded by the gallery from collectors, the artist struggles to produce quality works and is unmotivated to do so by the high commission taken by the gallery. This becomes a vicious circle for both realist collectors and artists, where there is no opportunity for development in terms of quality; the market is overrun with poorly executed realist works whose market/investment value goes down.

What inspires clients to collect Dynamic Realism?

Often when clients see the quality of a piece of already produced Dynamic Realism, they are excited and engaged by the image portrayed and how it has been produced. Clients know that because the works take many hundreds of hours to create, production quantities are low (on average 5-7 works a year are produced) and they desire to own their own exclusive piece. Collectors who commission work(s) see the opportunity to have an exceptionally dramatic bespoke piece of art crafted to their specific vision. Clients become more engaged when they are encouraged to understand what can be achieved using the attributes of Dynamic Realism, and how their vision(s) can become ‘alive’. Clients enjoy the opportunity of working with me and are reassured by the high level and clarity of communication, the fair value put on the art and a sense of maximised return on investment. Collectors, when commissioning or buying works showcased at the exhibition, will not only be investing in a piece of timeless art, but they will have the opportunity to see 25% percent of there purchase go towards philanthropic causes largely determined by the collectors themselves.

Where will your next research trip take you, and what will you be focussing on?

I will be travelling out to Cyprus and Jordan this February. I will be working with the Jordan Living History Association and the Roman Army and Chariot Experience team in the hippodrome in Jerash, with the aim of understanding and archiving chariot racing. I will also have the pleasure of working with Mr Said Huneidi owner of The Royal Institute of Arabian Horsemanship, that will allow me to gain insight into the art of Furussiya, cavalry skills used by the Mamluks (13th– 16th c.). I will also be hoping to track down some Arabian Oryx with the help of The Royal Society for the Conservation of Nature. I hope that from this trip I can successfully bring the Jordanian culture 'alive' using Dynamic Realism.

What can people expect when visiting the exhibition?

The exhibition is split over two floors and will showcase 12 original artworks and 5 exclusive Artist Proof Archival Quality Prints. Further details will be available on commissionable projects and there will be an opportunity to meet and discuss the artworks with me. The Private view evening will feature guest speaker and collector David Lesperance. Signed Catalogues will be available during the duration of the exhibition.

Exhibition dates and location: 15th - 20th March, Gallery 27 Cork St, Mayfair, London

Exhibition Opening hours - Monday - Friday 10am - 6pm, Saturday 10am - 4pm

Catalogues are available during the exhibition and online from www.AbbeyWalmsley.com

Return to Main Menu

Main Page

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

 

Return to Main Page

Main Menu

Gallery and Exhibition Listings

Gallery Listings

• Iona House Gallery, Woodstock, UK

• Unicorn Gallery London, UK

• Halcyon Gallery, Mayfair London UK

• Halcyon Gallery, Birmingham ICC, UK

• Halcyon Gallery, Harrods, Knightsbridge, London UK

• Campbell's of London, Knightsbridge, London, UK

• Cross Gate Gallery, Lexington Kentucky, USA

• Gallery 27, Cork Street, Mayfair, London UK

Exhibition Listings

• Dorchester Art Exhibition, UK

• Dorset Arts Exhibition, UK

• Bridport Arts Centre, UK

• Royal College of Art, London UK

• Hampton Court Palace, UK

• Palace House, Newmarket, UK

• Britsih Bloodstock Agency, Newmarket, UK

• Ham Polo Club, London, UK

• Royal Berkshire Polo Club, UK

• TOBA Awards, Winstar Farm, Lexington Kentucky, USA

• Christies SEA Exhibition, London UK

• Thurnham Hall Country Club, UK

• Private residence, Newmarket, UK (Showcase)

• Private residence, Vancouver, Canada (Showcase)

• Dallas Safari Club, Texas, USA

• Houston Safari Club, Texas, USA

• Credit Suisse Private Banking, St Moritz, Switzerland

• Quintessentially Soho, The House of St Barnabas, Soho, London

Return to Main Menu