Flower-Inspired Wildlife Art from My Garden and Studio | Louise Luton Art
From the Studio to the Garden: A Joyful Journey in Paint and Petals
As I walked with Bumbles down by the river early this morning, the sunlight gently burned away the mist curling over the meadows. It felt like one of those quietly magical starts to the day – the kind that reminds you how beauty often lives in the little things. Birdsong overhead, paws trotting beside me, and the growing buzz of summer in the air. I came back from that walk and felt a renewed sense of joy. Not the kind that shouts, but the kind that hums quietly in your chest.
That sort of joy has a way of sneaking into the studio too. I’ve been painting steadily behind the scenes, working on some beautiful commissions and creating new work for my publishers – pieces that will make their debut as prints at the New Forest Show in July. It’s been a busy time, but one that’s also let my creativity grow in its own gentle rhythm. And as always, the view from my studio window, the ever-changing garden, and the creatures that wander through it all feed my work in the most unexpected ways.
Last week, I visited the flower festival at Salisbury Cathedral with my mum. It was glorious – a riot of scent and colour and stories told through blooms. I took my sketchbook with me (of course) and found myself not only sketching, but also chatting with people, swapping stories about gardens and favourite flowers. There was a warmth there that has stayed with me all week.
And then, like perfect timing, Chelsea Flower Show burst onto my screen, filling my feed with more floral inspiration. Add to that the delight of watching the peonies in my own garden unfurl – those tight little fists of potential popping open into huge, blousey blooms – and, well, it’s no wonder I’ve had flowers on my mind.
Some of my animals have been flower-adorned for a while now – Petals & Plumes the peacock, a certain Highland cow whose horns curl through a cascade of soft petals, and a hare nestled amongst cornflowers and daisies. But there’s more blooming under the surface. Recently, I’ve been working into landscapes that are full of movement and flowers, hints of wild meadows and tangled hedgerows – pieces that feel like walking through a memory. Those are with my publishers now, and I can’t wait to share them with you soon.
Recently, I’ve been working into landscapes that are full of movement and flowers, hints of wild meadows and tangled hedgerows – pieces that feel like walking through a memory. Those are with my publishers now. I love these two and the original, and first edition of the prints will be on my website soon.
So today, I just wanted to invite you in. To pause with a cup of tea and have a gentle browse. There’s a whole collection of original work waiting quietly on my website, each one with its own personality, its own moment captured in oils and joy.
If you haven't already, do subscribe to newsletter as you can get 10% off and free shipping; it's my way of saying thank you for being here.
I hope you'll find something that speaks to you, something that reminds you of a walk you took, a pet you loved, or a corner of your home that deserves a little more beauty.
Warm wishes,
Louise x
Why you shouldn't hold back from buying art if you like it
Why you shouldn't hold back from buying art.
Have you ever found yourself drawn to a piece of art but hesitated to make it yours? Maybe you thought, I don’t know enough about art to buy it, or worried about the cost, or even felt intimidated by the idea of "owning" art.
Let me share something: buying art isn’t about being an expert or spending a fortune. It’s about finding something that speaks to you, something that brings beauty and joy to your life every single day. Whether it’s an original painting or a high-quality print, owning art is one of the most fulfilling investments you can make.
Here are some common reasons people hold back—and why they shouldn’t.
1. You don't really know about art
The idea that you need to know about art to buy it can hold people back from experiencing its joy. But here’s the truth: you don’t need to be an expert to love art.
Art is about connection. It’s about how a piece makes you feel when you see it on your wall, the memories it evokes, or the sense of calm or inspiration it brings to your space. If you’re drawn to a painting or print, that’s all the expertise you need.
There’s no "right" or "wrong" way to enjoy art. Trust your instincts, and choose what resonates with you. When you do, you’re not just buying something to decorate your home—you’re adding a piece of beauty and meaning to your life.
But isn't art really expensive?
Art is often seen as a luxury, but it doesn’t have to be. Original paintings are priced to reflect the time, skill, and materials invested in creating something one-of-a-kind. However, there’s also an affordable and equally meaningful alternative: high-quality prints.
I work with a family-run, independent publisher here in the UK to create prints of my artwork. While they supply some large retailers, at their heart, they’re a small business, just like mine. Together, we create beautiful prints that capture the essence and emotion of my original paintings.
Prints are an accessible way to bring art into your home without compromising on quality. Framed and displayed with care, they can transform a room, spark conversations, and bring daily joy—just like an original piece.
Art galleries are really intimidating
If you've ever felt uncomfortable walking into an art gallery you're not alone. However, the galleries that I work with are small independent businesses and are happy to welcome you. They don't mind if you don't know anything about art and they certainly won't try to bamboozle you with grandiose language! Instead, they're hoping that you have the courage to walk into their Gallery because you quite liked the look of it. And maybe you saw something in the window that caught your eye. You can browse at your own pace ask questions or simply enjoy the pieces that speak to you. Art should feel approachable because it's made for people to connect with and enjoy not to intimidate or exclude.
AI art is cheaper and just as good?
Ouchie. As you can imagine, traditional oil painters like me might not be too fond of AI generated images. AI might be fast and inexpensive, but it lacks the soul and storytelling of something created by a human hands. Every brushstroke in my paintings holds intention, emotion, and a piece of my heart. There's no algorithm that can replicate what I do with paint and a brush! When you buy a painting or even a print created by a real artist you're not just getting an image you're getting a piece of their journey, their vision, their craft. These are things that bring lasting value and meaning to your home far beyond what any AI generated image can offer.
Why buying art matters
Investing in art isn't just about decoration; it's about supporting creativity, small businesses, and a community of independent artists. When you choose to buy an original painting or print you helping sustain the work of real people who pull their passion into every piece they crea and for you? All becomes a lifelong companion it transformed your space, tells your story and brings daily joy. It's not just something you own, it's something you live with, connect with with, and Treasure forever. So whether it's an original oil painting or framed print don't let hesitation hold you back if a piece speaks to you that's reason enough to bring it into your life
I paint the plains down in Africa.
My Into Africa exhibition is now on display at Fisherton Mill in Salisbury and I couldn’t be happier. Last week I was lucky enough to have a couple of days all to myself in the main gallery hanging my exhibition. It took me quite a bit of time to get all of the pieces upstairs, but once all the tooing and froing had been completed the joy of hanging at the work with the next task.
I don’t think I’ve seen so many of my large pieces all together at the same time and it’s a real thrill to see the entire collection.
On Friday evening was the private view, or big unveiling as I prefer to think of it. Guests were treated to the delicious food that Fisherton mill has to offer, and Phil and I plied everyone with just enough wine to encourage a more convivial evening!
What was really lovely about the evening where the amount of people who have already been to Africa. Everyone took the time to tell me how my work reminded them of their visit and that really couldn’t have been more wonderful thing for them to have said.
I've created a book of my sketchbooks too which is on sale at the mill, which has become incredibly popular in just the first few days.
I’m also lucky enough to be able to have the time to be in the gallery every Tuesday and every Thursday throughout the exhibition, which is running until the 4th of April. This is such a delight for me as I get to speak to everyone and there is plenty of room in the main gallery so I’m taking a different painting in each day to work on whilst I’m there. So if you’re in the Salisbury area do feel free to pop along at any time when the fish to Mill is open or on a Tuesday and Thursday if you would like to see me.
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Regual readers know that last year I realised a lifelong dream to go on safari in Africa and paint the wildlife there. My exhibition at Fisherton Mill in March explores her fascination with the natural world and the endangered species found in Kenya.
Here's and extract from Wiltshire living magazine, which features my Africa exhibition in this Month's issue
"My preoccupation with animals goes back to childhood. I've always been a country girl and grew up surrounded by fields of cows and sheep; as kids we used to love trying to spot the deer in The New Forest especially in winter time.”
When I gave up teaching a few years ago, to become a full time painter, I was primarily interested in the changing light on the landscape. My salisbury studio looks out over the valley across to Old Sarum and i’m obsessed with looking at light.”
Gradually though animals have taken over Louise’s work and she focuses on creating a connection between the viewer and the animal. The eyes of the animal draw you in and you find yourself face to face with something beguiling and beautiful.
“I’m so lucky to be able to see so many animals in the wild, I had no intention of going further afield until a conversation with my Dad.
In 2017 my Dad was very poorly in hospital and suggested I should paint lions. I said "No dad I'm sticking to British animals local to my studio”
"What about the Lions of Longleat, they’re in Wiltshire!”
He smiled his cheeky smile and winked his cheeky wink.
When my beloved Dad passed away I couldn't eat, I couldn't sleep and I couldn't paint. Then one day, out of the blue, I painted a lion. I loved it and it sold almost straight away.”
"You were right again Pops!”
Over the past two years Louise’s African animals are becoming as popular as her British ones and last year she visited the Masai Mara to really experience the wildlife close up.
“The visit exceed all my expectations, I adored the Mara, it felt strangely familiar to me. Parts of the north conservancy reminded me of the New forest and then the vast plains of the main reserve felt like Salisbury plain!"
Whilst the landscape was familiar the wildlife was not.
“Nothing prepared my for how heavily my heart was beating as a lion approached the jeep, I could have reached out and touched him!” One day a lion actually came up and sprayed our jeep, the result being when we visited another pride they were extremely interested in us. It was exhilarating, scary and wonderful all at the same time. I have some incredible photographs from that day”. When we got back to camp, we definitely had bragging rights that evening, even the guide was surprised by our experiences.
We were incredibly fortunate throughout the trip, seeing Cheetah, lion and elephant everyday and one day we were fortunate enough to see the drama and chaos of a river crossing, most surprising for that time of year!
The exhibition at Fisherton Mill that opens on March 1st covers Louise’s incredible travels. Her camera wasn’t the only important piece of equipment.
“ Even though my work is quite contemporary I’m still old school” Louise explains “I simply can’t travel without my sketchbook!. You’re really limited on luggage weight when you go to the Mara, but my sketchbooks and watercolours were essential to me”.
Louise's paintings are built up in layers and they spring from hours and hours sketching. She sketches in watercolour because it’s more portable and spontaneous, but her finished pieces are in oils.
“ I adore working oil oils. I start in a traditional way with a thin underpainting of burnt umber or french ultra. Slowly I build up the layers, creating depth and form. It’s only in the final layers that I can start being more spontaneous and us surprising colours and splashes and splatters”
The resulting work is uniquely her own. “Whilst I have huge influencers on my painting technique, Rembrandt, Turner, Monet…however I much prefer to take direct inspiration from the world around me”
Louise’s work is becoming more widely known, she produced prints with a publishing house and is now exhibited throughout the UK.
“I’m really looking forward to having a solo show in my home town. I can’t imagine not being able to paint the world as I see it and it's so nice to be able to share that here”.
“Into Africa” at Fisherton Mill gallery in Salisbury runs from the 1st March to 4th April 2020.
