Hailing from South London, Fred Coppin is an artist and photographer who draws on colour and playful architectural forms throughout his work. Whether it is a tower block from his local area, a common house plant or a still-life of litter around a bin, Coppin has a talent for capturing these unassuming subjects in a bright, impactful and almost dream-like way.
How would you define your creative style?
It’s always tricky, but I tend to end up describing my work as uplifting, optimism interpretations of real-life essentially.
Whether I’m painting a still life, portrait or landscape, I’m always just trying to look overly hard and soak up as much colour and visual information as possible. It’s a fun way of looking at the world.
What do you like about working in your medium?
I usually work in oil paint which I’ve come to absolutely love - it’s magical stuff. It’s so immediate and the textures, flexibility and the colours are really hard to top. Plus, you can always scrape it off and start again!
Where do you find your inspiration?
It’s probably an annoying thing to say, but I feel bombarded with inspiration all the time. Anywhere there’s interesting light or colour or some interplay between natural and manmade forms my mind is whizzing.
Because I quite often have a linear sense to my work I sometimes like to use different methods to inject a bit of randomness. Most recently, during this strange time of isolation I’ve taken to a google-maps randomiser to travel around the world digitally and find inspiration in the most unlikely nooks of the world.
What have been the highlights of your careers so far?
I’ve been involved in some cool shows, but the fact that I get to spend the majority of my day painting away is an absolute privilege to be honest. It’s a constant learning curve and evolution so anytime I feel like I have a bit of a break-through or a painting works out it’s a real joy.
What have been the obstacles you have had to be overcome so far in your career?
I worked in creative marketing for some big brands for quite a while before being able to paint full time, so the hardest thing really has probably been adapting to the different way of life. I found spending a lot of time on my own in the studio a really strange and difficult thing to start, and you question whether you’re just a crazy dude in a room making weird things…..I’ve got used to it but still ask myself the same question from time to time!