Illustrations, German Art Movements & Russian Art School: An Interview With Nicholas Sims
Nicholas Sims is a British artist known for his graphite pencil portraits and illustrations.
An artist seemingly attuned to exploring psychological connections, his portraits showcase an intrinsic ability to grasp an emotional state or transitory expression through quick sketches.
The faces he chooses to draw are of mundane individuals, engrossed in their own mental and physical planes.
In this interview, the artist discusses the inspiration behind his work and how he transforms an idea into a physical piece.
Nicholas Sims.SAH: How would you describe your style?
NS: Drawing-based. Often pencil, but can be ink, sometimes using Procreate. It's observational drawing.
SAH: Where do you get your inspiration from?
NS: Inspiration comes from faces, feelings, buildings, the place where I live or the journey to work when the winter sun is just rising.
Artworks by Nicholas Sims.
Artworks by Nicholas Sims.SAH: Who are your biggest influences? Is there a particular artist that inspired you to pursue art?
NS: Too many to mention. I love George Grosz, for his line. It's very rich, but at the same time, simplistic. Almost childish. I love his subject matter, too. German stereotypes. As I child I was influenced by children's books illustrators, like Raymond Briggs, and other illustrators whose names I never knew. Some of them were very good, like Tenniel (Alice in Wonderland), Arthur Rackham, artists who did work for the Tolkien Beastiary...Later, I found Dutch artists, like Pye Koch.
I was always deeply affected by Brueghel. I love Van Gogh's drawings (pen and ink), Picasso's Blue Period, Van Eyck (Man in a Red Turban).
English artists, like Beardsley, Eric Gill (both the sculpture and the linework), the First World War artists, like Paul and John Nash, C.W.R Nevinson.
I was really into the German art movements of the 20th Century, like Neue Sachlicheit and the Expressionists before them. I love all the turmoil of their history as shown through their artists, like Dix, Grosc, but also, George Scholz (self-portrait in front of an Advertising Column), Conrad Felix-Müller (the wood cuts- which are just fabulous), Christian Schad, Rudolph Schlichter (there's a sort of intensity in German art that really grips..)
Recently I did an illustration degree and discovered the work of Paul Hogarth, whose work I really like, and Ronald Searle's War Drawings made in Japanese prisoner of war camps. So powerful. I love anything that is intense really and is about human emotion. I think that human beings are the most intriguing things to draw. And by that, I mean the face.
SAH: Where are your favourite places to view art online?
NS: At the moment, I am viewing art online via Instagram. Things like Inktober can sometimes be interesting, or the excellent cafe royal books, or the photographic work of Gavin Watson, or Tishmurtha. Sometimes photography does it for me as much as painting/drawing (Bill Brandt, Henri Cartier-Bresson).
Artworks by Nicholas Sims.SAH: How do you go about transforming an idea into a physical piece? Do you have any studio rituals?
NS: I don't work in a studio, as such, unless my 'study' counts. I work outside with an easel or 'malbert' (a Russian style box with legs). I draw people on the spot when I can, but it is not always easy to get people to pose for long. Sometimes, I take a photo as a reference for later on and I put the photo on the TV to get as much of it as I can.
SAH: What are you working on currently?
NS: Currently, I am supposed to be trying to do the Penguin illustration award for Girl, Woman, Other and, possibly, one from Talent House on the subject of 'home' for Nationwide, but whether these will ever get off the ground I don't know. In between trying to succeed as an illustrator (very hard),
I keep drawing portraits and full length poses with Raw Umber Studios and just keeping my eyes open for interesting people who I meet or work with, or teach (!) that might, possibly let me draw them.
SAH: What are your ambitions?
NS: My ambition would be to keep drawing, get some recognition, like win a big award, like the Derwent or the Trinity Buoy Wharf. Get my work shown more. Make a living from my art.
SAH: How do you seek out opportunities?
NS: As mentioned, I pay attention to what's on Instagram. If something comes up like the Derwent, or some other major art competition I try to enter.
If I have the funds. I also look out for illustration 'gigs' on Bark.com, but you have to pay for these and it's rare you make your money back.
Artworks by Nicholas Sims.SAH: Art school vs self-thought, what’s your thought?
NS: I've been to four different art schools. Three in England and one in Russia. I was lucky to get coaching in Russia by phenomenal Russian artists.
I learnt a lot from my time there - especially drawing. I really learnt how to shade and began to develop 'volume' in my work towards the end (2006).
I learnt how to paint in oils, watercolours, whilst over there. I think there is a lot to be said for art school. In Russia.
Over here, in England, it seems to providing you have the funds you're welcome to attend, actual drawing and painting skills are not really fostered; sometimes the 'art teachers' are inferior in their ability, but, most importantly, it's great to meet other artists.
We share a similar mindset and this is almost a liberating experience for me. I think it's a shame that so many 'fine art' schools are just replicating Damien Hurst, the YBA's, Tracey Emin without much thought or process of craft. I think illustration students produce better work. I think the idea of 'the brief' actually encourages creativity.
Artworks by Nicholas Sims.SAH: What advice would you give somebody who has just started their artistic career?
NS: I'm not one to offer advice! Being an artist is a bit like being yourself and either you are one, or you're not. Yes, you can learn skills, you can learn 'how to draw' from Raw Umber or from a Russian art school, but ultimately, what are you saying? What's your voice?
You either well up, and well up, and well up, with the intention to create, or you don't and it just dies. I think for the real artist, it is always there - it's a desire to create, to draw, to paint. And if you don't do it, you don't feel good about yourself and you're miserable.
SAH: Where can we buy your art?
NS: You can buy my art from me. You can contact me on my instagram account! I haven't got a gallery promoting me, although Smart Artist Hub is a good start.