Let us go on a journey energised by colour and abstraction, one that is pure imagination, curtailed by no conclusion.
Words by Jamie Crocker
It has always fascinated me how people choose or are drawn to follow a certain path. The interesting narratives that emerge are invariably not motivated by financial gain but by a compulsion that has its roots in a childhood experience, which grows, becomes embellished, and is amplified as the years pass. Everything is a reaction to what precedes it. If this were not the case, then nothing would make sense. As William Wordsworth wrote in his poem My Heart Leaps Up, ‘The child is father of the man.’
And so, it is with Carol Hosking-Smith. “I remember the first time I was allowed to stay out late as a child, seeing a sunset and looking out on horses in the vivid green fields and the wonderful colours of red and orange in the sky. (It) created the thought of being affected by colour, which has been a very much part of my life ever since.” She adds, “I was always making things, clothes especially. I remember, too, having a set of paint-by-numbers, oil paints and a board as a present. The oils were so sticky and the shapes so difficult to fill in that I thought I never wanted to be an artist! Fortunately, I was not put off for long!”
These seminal moments are couched in a child’s innocence yet hint at a life to come. The love of colour and the rejection of the boundaries imposed by others are all there. As Winifred Nicholson in the book written about her by Jovan Nicholson, entitled Liberation in Colour, says, ‘The Old Masters nailed colour, like a carpet tight down over forms, the abstract thought released it, and its inherent power for expression became apparent.’ Carol is an inheritor of this thought.
Her conscious entrance into the world of abstraction and its derivatives earnestly began when she took a foundation course at the Reigate School of Art. Here, she experimented with abstract shapes within her textile designs, often developed from drawings and paintings. She explored chromatics and texture learning the techniques of photography and artistic composition, the latter of which would be invaluable. From there, she progressed to Croydon School of Art and Design, Central School of Art and Design Postgraduate, plus Chelsea School of Art; the Postgraduate course allowing for further independent experimentation. These formative years proved to be solid ground from which to spring forth, giving Carol the confidence and freedom to challenge realistic forms. As Picasso said, “Learn the rules like a pro, so you can break them like an artist.”
LEFT - Wabi Series 2 on watercolour paper CENTRE - Carol Hosking-Smith RIGHT - Wabi Series 1 on watercolour paper
At some point, she became one of those people who recognised that London wasn’t working for them anymore. Its frenetic demands and sheer vastness were contriving to make it harder to feel a sense of community. And, although Carol had had successful exhibitions there, she felt she needed to be somewhere else. Fortuitously and somewhat ironically, it was in the capital that she first (literally) encountered Wilhelmina Barns-Graham – a founder member of the Penwith Society of Artists. It proved to be a tipping point for Carol, spurring her to uproot and move to Cornwall’s artistic epicentre. As an admirer of Barns-Graham’s later work, it seemed a natural decision to make. There is a synergy to be seen between the two artists in terms of production and approach. A quote from Barns-Graham could apply equally to both – “In my paintings, I want to express the joy and importance of colour, texture, energy and vibrancy, with an awareness of space and construction. A celebration of life – taking risks so creating the unexpected.”
It was a move that suited Carol from the outset. She found a deeply rooted community as opposed to the transient and ephemeral ones she’d encountered in London. The stimulation and slower pace allowed her to access the inner peace that she had been lacking. Although it has become a cliché, the sea and the light surrounding St. Ives have proved to be an ever-present companion to her and the art she creates. It is a place she has come to love.
Finding stillness and space to meditate in her new home was akin to a second awakening for Carol. She found that her energy levels increased because the demands of the metropolis had been relinquished. Instead of witnessing and being crushed by the incessant throb of the city, she found that the natural sounds and sights such as sea, sky and dramatic weather changes were having a beneficial effect upon her and, by extension, what she was producing.
From a space of inner tranquillity, ideas germinated, becoming real on the canvas, spreading and evolving as she worked. As a consummate writer often finds, when the characters that they have created start to come to life on the page when they begin to interact with each other, they break away from the control of the creator, and so too did Carol’s creations, taking on a lifeforce of their own. Sparks were flying, setting light to a period of intense creativity! The fire that began then has never gone out.
As a person who responds to their environment quite acutely, it would be odd to find that other influences don’t permeate the mind of someone of Carol’s disposition. Although not directly inspirational to her art, she freely admits to a subconscious lineage between it and music and dance. They both sit in the background as helpful adjuncts to the creative process. Chopin and Debussy are composers who aid in ‘mood creation’ before she even picks up a brush. There is also a shared descriptive language between the three disciplines, a commonality of words, including rhythm, abstractness, arc, flow and energy – adjectives that can easily be applied without hesitation to her mark-making. What is also interesting, and running counter to a lot of her fellow artists who are working through their angst in the public sphere, is a desire to bring harmony and joy to her viewers. As she says, “I want people to be uplifted by my art. You go to an exhibition to be inspired and transported!”
Reflected in her art is the concept that ‘less is more’. Her recent Wabi series of paintings is the culmination, or rather a resting point before the journey continues, of an evolving process. As Carol says, “The Wabi series has allowed me to explore more open space in my compositions and how colour and form relate to a given space. I feel this will be more of a consideration for my future work. It’s something that I’ve really enjoyed doing. I love the Zen brushwork in particular; it’s such a calming experience.” It is a practice that transcends mere aesthetics, requiring the practitioner to adopt a state known as mu-shin or “no-mind,” which exists beyond thought, emotions and preconceived expectations. It runs contrary to work produced with conscious intention, art that can sometimes lack vitality and life because it is too representational and overly contrived. Through her engagement with Zen Buddhism, Carol has been able to show through her mark-making the simplicity and direct expression that it encourages, allowing her creativity to emerge from a place of organic spontaneity.
As a consequence, her creations begin and end with energy. Every brushstroke carries intent, and every mark embodies the energy it projects. This dynamic exchange starts with deliberate motion – fast, intuitive and purposeful. The initial act is immediate and impulsive before the painting then starts to dictate its journey. Will it remain still and meditative, or will it grow into something dynamic and spirited? The outcome is often determined by the energy of that first stroke, a force that shapes the unfolding narrative. Carol’s role is to embrace this journey, to follow where the painting leads her. Art, after all, is as much about letting go as it is about control – a delicate dance of energy and instinct. Resistance – forcing a different direction – risks disrupting the harmony and balance, leaving the work disconnected and unresolved. This approach even applies to the materials – the acrylic paints and inks that she uses are perfectly suited for this type of quick and expressive work – “They flow so well.”
LEFT - Joy on watercolour paper RIGHT - Wind Series on watercolour paper
In conclusion, speaking honestly, Carol acknowledges that abstraction, as an art form, presents inherent challenges for the observer, particularly for those who are less acquainted with the concepts of American Expressionism and Zen brushwork. It is other artists who first respond to her work with appreciation, but as any innovator will testify when you are pushing the boundaries, it will take a while for others to understand what you’re doing. Within the long history of Abstraction, from the first pioneers – the Women Spiritual Abstract Artists in the late 19th century to the Modernists of the mid 20th century, which were largely based in St Ives – Carol finds plenty to explore and give personal expression to this idiom.
Her work can be viewed in several prestigious galleries, notably the New Craftsman and the Penwith Gallery.
