Hamish Blakely was born in Canterbury in 1968 and developed an interest in art from an early age. From drawing his favourite comic book superheroes to producing caricatures of his school teachers, Blakely's innate passion for creating paved the way for a successful future in painting. He studied illustration at Wimbledon School of Art and completed his degree at Kingston Univer...sity shortly after which he became a professional illustrator.
During this time as a professional illustrator, his clients included The Body Shop, British Telecom and Cable and Wireless and he was chosen to paint two front covers for the world renowned author of ‘Schindler’s List’, Thomas Keneally.
Blakey and his wife Gail have both set up and curated their own shows in London, leading to a solo display in the Thomas Kettle Gallery in Covent Garden. As his success grew, so did his interest in physicality and lighting that were to become the hallmarks of his later work. The artist suggests that his relationship with his wife has marked the first transformative phase of the style that has now seduced collectors worldwide.Gail continues to be the artists muse
The artist's love of women has led him to explore themes of empowerment, narcissism and even 'smartphone mania'. He is inspired by his loyalty remains to the intrinsic beauty of the female form, yet his paintings hint at deeper, primal forces. Blakely paints with deep immediacy and considers sketches unnecessary to his creative process. Using a vibrant colour palette, Hamish creates a tactile surface achieved with layer upon layer of heavily-applied pigment.
Blakey finds inspiration in a glance at the fashion section of the Sunday supplements, as it has shown him something special. The non-posed images of particular models backstage and the structure of their faces in light but now they are distracted and less self-conscious, work their way into the artists practice.
While technique is obviously important in representative art, Blakely feels it is something that must not be over indulged. He believes a painting is more than an arrangement of polished rendering and that the life of it involves spontaneity and boldness.