Frankie Thorp is a contemporary painter
from Essex, living and working in London.
She studied illustration at London College of Communication.
Frankie’s paintings are extremely playful and humourous. Using memory and nostalgia to explore the familiarity found in everyday objects, all imbued with a delicate sense of Britishness. Working mainly from photos and recollections her subjects and forms are reduced and simplified.
Exuberant colour and a generosity of
spirit permeates her paintings
She spoke about the british Countryside,
Pop Culture Moments
and a soft spot for period drama’s
in our conversation ahead of our first collaborative
print release…
‘Heathcliff It’s Me Cathy’ :
Giclee Print
Edition of 50
55.5 x 49 cm
Signed by artist
£175 + shipping (VAT applicable if UK)
Available 5pm BST Thursday 16th July
https://shop.goldmarkatelier.com/product/frankie-thorp-heathcliff-its-me-cathy
- What first drew you to making art?
I’ve painted and drawn ever since I can remember. As a kid I loved making comics and re-drawing my favourite cartoons. It carried on into my teens and eventually lead to me studying illustration at university.
- Do your compositions begin from observation, photography, memory, or imagination?
A mix of all the above. I find photography triggers memory which then merges with my imagination. The work falls somewhere inbetween reality and fiction.
- For someone encountering your work for the first time, how would you describe it?
A whimsical exploration of nostalgia and memory, entwining the familiarity found in everyday objects with idiosyncratic emblems. Food, animals and pub culture feature heavily throughout my paintings in order to help illustrate a narrative. I also like to play around with compositions which reference both past and present, occasionally tapping into conversations around ‘Britishness.’
- Which artists, places, or experiences have had the biggest influence on your work?
Pierre Bonnard, Matisse and Hockney are just a few artists that have influenced my work. In particular the way they capture people and interiors. Travel does impact my work and influence my palette and subject matter but currently I’m finding a lot of inspiration in the British countryside and wildlife.
- Do you think it’s important for viewers to interpret your work in a particular way, or do you prefer them to bring their own perspectives?
No I think it’s great if the viewer interprets the work in their own way. Especially the works that are less literal and are open to interpretation but a lot of my paintings I feel have a clear and obvious message, especially the more light hearted or humorous pieces.
- This painting transforms one of literature’s most iconic heroines into a vivid, almost mythical figure. What was it about Cathy and Wuthering Heights that compelled you to bring her into your visual world?
I have a soft spot for period dramas and their contribution to British culture. There have been so many adaptions of this story and I’d be lying if the latest film hadn’t influenced this piece. It was fun to play around with a vibrant and visceral adaption of what historically has been depicted through much gloomier imagery. Despite the story being around 180 years old the themes of love and revenge and toxic relationships are relatable to many so illustrating this in my own way was incredibly fun.
- What came first: the image, the text, or the emotional idea behind the piece?
I was toying in my mind with the imagery and the sentiment of this painting for a while. I only occasionally bring text into paintings when I feel it adds to the conversation of the piece. The Kate Bush song was such a pop culture moment I felt compelled to work it into this painting. I think it adds to the emotions I wanted to depict, the sense of desperation and yearning.
- How does this piece connect to the broader themes in your work?
I think all my works correlate through ongoing emotional connections we have with moments in time, all be it fictional or real. I think most people whilst growing up have had an interaction with ‘Wuthering Heights’ at some point even if it was against their will.
