Campbell has seen extraordinary success from first picking a paint brush up in 2009. Helen’s work is contemporary and often larger than life.

When working from life, I’m painting the effect of light on my subject. Light moves fast and I must be quick to capture it. Most times I get it in one sitting; occasionally I’ll have to finish back in the studio. How do I prepare for this? After setting up my easel I always take a photo of the subject. This is a record of the light effect and a handy reference for later.

One of the most challenging subjects to tackle “En Plein Air” is a seascape. The ocean is in constant motion. Wind is almost always a factor. Often fog will roll in and back out as you’re painting, sometimes completely obscuring your subject.

I love painting the fresh, bright greens of early springtime. With the first sniff of warmth in the air and a hint of green on the trees, I pack up my oils and favourite brushes from Rosemary’s Ivory Range and head to the woods to paint the bluebells. A couple of long filberts and a no.4 rigger are all I need for working on location.