Find out more about me and my work
Louise Luton
Contemporary wildlife artist – oil on linen
Artist Statement
I am a contemporary wildlife artist based in Salisbury, Wiltshire, known for my expressive use of colour and my vibrant oil paintings on linen. My work captures the beauty, character, and majesty of animals — from the deer of the New Forest to the lions and elephants of the African savannah.
I paint because I love to paint. From the moment I could hold a pencil, art has been my way of connecting with the world. My process blends traditional oil painting techniques with a bold, contemporary approach to colour, creating work that is both joyful and full of life.
Biography
I studied Art and Geography at Roehampton University, specialising in stained glass. My final degree show included a commissioned stained glass window for Napsbury Hospital. After completing my PGCE at the University of Exeter, I spent 20 years as a secondary school teacher, teaching Art and becoming Head of Drama, Head of year inSixth Form, and Head of Staff Development, before finally returning to my first love: painting.
A pivotal moment came shortly after my beloved Father passed away. He had once suggested I paint lions — advice I had set aside until grief brought me back to the easel. I painted my first lion, based on a photograph from Longleat, and it sold immediately. That moment changed my path. A couple of years later, I travelled to Africa for the first time, and the light, colour, and wildlife I encountered there transformed my work forever.
Today, I paint British and African and Asian wildlife, working from my own sketches and photographs (often taken by my husband, a keen photographer). My work is held in private collections across the UK, Ireland, Kenya, USA, Australia, Switzerland, France, Singapore
I work alongside a lovely British publisher , who have created my colourful animal prints now available through galleries and stockists nationwide.
Selected Exhibitions
Solo Shows – Fisherton Mill Gallery, Salisbury – African Collections (2020, 2023)
Fresh Art Fair – Cheltenham & Ascot (Demonstrating Artist, 2019, 2022, 2023)
Contemporary Art fairs Reading Art Fair, Windsor Art Fair, Sandown Art Fair (2014–2019)
The Barons’ Charter – Magna Carta 800th Anniversary Public Art Trail (2015)
Projects & Collaborations
Collaborator with Offbeat Mara Camp, Maasai Mara, Kenya (2019, 2022)
Stained Glass “Stained Glass Flower Baron” sculpture for Salisbury Barons’ Charter
Commissioned stained glass window for Napsbury Hospital
Education
BA (Hons) Art & Geography – Roehampton University, Digby Stuart College
PGCE – University of Exeter
Approaching oil painting
I use very traditional methods of oil painting, starting with a formal structure of the work, focusing on either the horizon or the eyes; I build around those key areas. Only in the final layers can I allow myself the real freedom in light and colour. The splashes and flashes are painted over on a strong foundation.
I only use artists’ quality pigments. I use Windsor and Newton as they have such a superb range. In addition I love to use Micheal Hardings paints and mediums. His Kings blue has a quality all of its own. I travel for my paints too! I have raw pigments from a little shop in Venice and I use Charvin paints, which I found in a beautiful little art shop next to the Pontneuf in Paris; there are pinks, lilacs and yellows that appear to have leapt straight from Monet’s palette! I love the way these paints feel on the brush and the canvas and the incredible colours they create together.
Inspiration from nature enables me to create something beautiful for the viewer to enjoy.
My work is created from a combination of quick and spontaneous observation sketches in addition to my own reference photographs.
Once back in the studio I surround myself with my sketches. The process begins formally, ensuring structure, focusing on composition and contrasts. This is developed with layers of colour and transparent glazes creating a joyous depth that invites the viewer inside.
I like exploring nature’s tensions - the animal is still but it could go at any second, the sunset is beautiful but soon it will be dark. I capture a moment in nature for a lifetime on canvas.
I work light over dark and thick over thin. Essentially what that means is the start of the work will have diluted washes of burnt umber or French ultramarine. This first layer will mark the piece out, whether it's the structure of an animal's face or the horizon line and features in a landscape.
As the next layers build up, the selection of colour dictates the heat, mood, energy of the painting.
After that it's about creating a piece that the viewer understands, something they want to linger over a little longer.