We are curious about the meaning behind the vein-like tendrils in a lot of your works. The idea of struggle is more of a response to environmental concerns: deforestation mistreatment of animals pollution over population depletion of resources – the usual cheery stuff. I'm also interested in things being both alive and dead at the same time. Or it can be a reaction to my environment at the time: more flowers in spring death in winter. Sometimes I paint more life when the opposite happens. Sometimes I paint death when certain things in my life are coming to an end.
Can you explain further what this means to you? We’ve noticed that life and death and a form of primal struggle make a regular appearance in your works. Kinda like a freak gravity, or a weirder evolutionary mutation. The texture, warping, and sagging was also a way of showing that the animals shared a common environment, where a certain stress had impacted on them. The textures evolved as a way to make the things I was drawing seem more real, more likely to exist, yet of another time and place. Some of the animals and objects you depict seem to embody an otherworldly textural finish.
There are also some sneak peeks of his paintings for the show below. We interviewed Nick about the textures in his work, the primal nature of his paintings and his body of work for his upcoming show, Cloaked. Nick Sheehy is an Australian-born artist and illustrator living in London. After studying bronze sculpture in the wilds of Tasmania, Nick gave up on art only to rediscover his love of drawing whilst living in London, sparked by an interest in the city’s low brow art, illustration, street art, and graffiti.
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