Nicholas Grove

Joined Artfinder: June 2026

Artworks for sale: 6

United Kingdom

Updates from Nicholas Grove's studio

  • My Studio Today

    My Studio Today

    While much of my work begins outdoors—on city streets, windswept coastlines or tucked away in quiet corners of the countryside—my studio is where those experiences are reflected upon, developed and brought to completion. It is both a workspace and a place of contemplation, filled with the paintings, sketches, reference studies and memories gathered from years of travelling with my easel. Unlike the constantly changing environments I paint in, the studio offers stillness. It's here that I can step back, assess a painting with fresh eyes and make considered decisions about colour, composition and atmosphere. The energy of painting from life is balanced by the quieter process of refining and resolving each piece. Over the years my studio has evolved alongside my career. Every shelf, drawer and paint-splattered surface tells part of the story. Sketchbooks sit alongside brushes worn smooth through years of use, plein air panels wait to become larger studio works, and finished paintings share space with those still searching for their final brushstroke. It's an organised chaos that somehow makes perfect sense to me. Although I enjoy the solitude of the studio, I never think of it as separate from the places I paint. Every canvas carries with it memories of a particular day—the sound of waves on the Norfolk coast, the bustle of New York streets, the atmosphere of Hong Kong, or the quiet beauty of the British countryside. Those experiences remain present long after I've packed away the easel. People often imagine that inspiration happens in the studio, but for me it begins long before I return home. Inspiration is found in changing weather, conversations with strangers, unexpected shafts of light and moments that can never be repeated. The studio is where those fleeting impressions are distilled into paintings that I hope communicate not just what a place looked like, but what it felt like to be there. This room is where ideas continue to evolve. New projects begin here, exhibitions take shape, and paintings leave to find homes with collectors around the world. It is a place of constant learning, experimentation and quiet persistence. Looking around today, I'm reminded how fortunate I am to make a living doing something I genuinely love. Every painting starts with curiosity, grows through observation and ends with the hope that it will connect with someone else. This studio is simply the latest chapter in that continuing journey, and I look forward to seeing where it leads next.

    26 June 2026

    Painting at Golden Bay, Malta

    Painting at Golden Bay, Malta

    This photograph captures one of those perfect painting days that stays with you long after you've packed the easel away. I'm standing on the cliffs at Golden Bay, overlooking the extraordinary turquoise waters of the Mediterranean, wearing one of my favourite holiday shirts and doing what I love most—painting outdoors. Malta has an incredible quality of light. The golden limestone cliffs, brilliant blue sea and endless sunshine create colours that almost seem impossible to mix on a palette. It's a place that encourages you to slow down, look carefully and simply enjoy the process of painting. Working en plein air means becoming part of the landscape rather than just observing it. The warmth of the sun, the sound of the waves below and the sea breeze all influence the experience and, ultimately, the painting itself. Travelling with my easel has become an important part of my life as an artist. Every destination teaches me something new about light, colour and atmosphere, and Malta is a place I always enjoy returning to. This image is a reminder that some of the best days are the simplest: a beautiful view, a blank canvas and the time to paint without distraction.

    26 June 2026

    Life on the Road with Monty and Uma

    Life on the Road with Monty and Uma

    Some of my happiest memories as an artist began with a campervan, a dog called Monty and the open road. This photograph was taken during one of the many weekends and longer summer trips I spent exploring the Norfolk and Suffolk coastline in my beloved campervan, Uma. Those journeys became a way of life. Whenever I could escape the studio, we'd head east, following the coast from one beautiful location to the next, searching for new places to paint and new landscapes to discover. The days settled into a wonderfully simple rhythm. I'd wake early with the sound of the sea nearby, make a coffee, walk Monty along an empty beach and then spend hours painting whatever had caught my eye. Sometimes it was the vast skies over the marshes, sometimes colourful fishing boats, weathered groynes or the endless movement of the waves. There would usually be a well-earned pub lunch somewhere along the way, perhaps another painting in the afternoon, and, if the weather was kind, a swim in the sea before the day drew to a close. There was something incredibly liberating about living so simply. Everything I needed was in the van. My studio had no walls and no fixed address. Each day was dictated not by a schedule but by the tides, the weather and the quality of the light. If the evening promised a spectacular sunset, I'd stay put. If another harbour looked more inspiring the next morning, I'd simply drive there and begin again. Monty was my constant companion throughout those adventures. He patiently accompanied me on countless walks, happily waited while I painted and reminded me to take breaks when I became too absorbed in my work. Looking back now, I can't separate those paintings from the memories of sharing them with him. He was part of every journey. Those summers transformed my relationship with the sea. Before then I had admired coastal landscapes; afterwards I became fascinated by them. The ever-changing tides, shifting weather, reflections, breaking waves and huge East Anglian skies presented an endless source of inspiration. No two days were ever alike, and that constant change is exactly what continues to draw me back to marine painting. In many ways, this period laid the foundations for much of the work I create today. My passion for painting the coast grew from these weekends spent wandering with sketchbook, easel and dog, and eventually led me towards becoming increasingly involved in marine art and, ultimately, exhibiting with the Royal Society of Marine Artists. Looking back, it's easy to see the thread connecting those carefree trips to where my artistic journey has taken me. This photograph isn't simply about a campervan or a painting trip. It captures a chapter of life defined by freedom, curiosity and a desire to spend as much time outdoors as possible. It reminds me that some of the most important moments in an artist's life aren't planned—they emerge gradually, one painting, one beach, one conversation and one journey at a time. Whenever I see this image, I'm transported back to those magical summers. The smell of salt air, the sound of waves outside the van, muddy paw prints on the floor, paintings drying in the evening light and the quiet satisfaction that comes from spending a day doing exactly what you love. Those memories continue to inspire every coastal painting I make.

    26 June 2026

    Painting in Hong Kong, 2019

    Painting in Hong Kong, 2019

    This photograph marks the beginning of a journey that has shaped both my life as an artist and the direction of my work. Taken while I was painting in Hong Kong in 2019, it captures the moment I truly discovered the joy of combining two of my greatest passions: travel and painting. Although I had travelled and painted before, Hong Kong was different. It was here that I realised how deeply rewarding it is to immerse myself in a place, set up an easel in the middle of its streets, and respond directly to the life unfolding around me. From that point onwards, painting became inseparable from exploration. Every destination offered new colours, new architecture, new light and new stories waiting to be translated onto canvas. Hong Kong has always held a special place in my family's heart, and over the years it has become equally special to me. There is an extraordinary energy to the city—a unique meeting of tradition and modernity, tranquil temples and soaring skyscrapers, quiet harbours and bustling streets. The changing humidity, the neon reflections after rain, the dramatic skyline and the constant movement of people create an atmosphere unlike anywhere else in the world. Painting there challenged me in ways I hadn't experienced before. The pace of the city demanded quick observation, confident decisions and a willingness to embrace the unexpected. Passers-by would often stop to watch, ask questions or simply smile as the painting developed. Those spontaneous encounters reminded me that art has a remarkable ability to connect people, regardless of language or background. Looking back, I can see that this trip fundamentally changed my approach to painting. It gave me the confidence to work more frequently on location and inspired me to seek out places that would push me creatively. What began as a single painting adventure soon became an ongoing commitment to travelling with my easel, wherever possible, and capturing the unique atmosphere of each destination from life. Every painting trip since then—whether in Europe, North America or elsewhere—can be traced back to this experience. Hong Kong showed me that the journey itself is just as important as the finished artwork. The memories, the conversations, the changing weather and the simple act of standing still long enough to really observe a place all become part of the painting's story. This photograph is, in many ways, where it all began. It reminds me of the excitement of discovering a new way of working, the freedom of painting outdoors in an unfamiliar city, and the realisation that I had found a path I wanted to continue exploring. Hong Kong will always have a special place in my heart. It wasn't just the location of a memorable painting—it was the place where my artistic journey took a new direction, one that continues to inspire every painting I create today.

    26 June 2026

    An Artist's Journey – Temet Nosce

    This short film was created by me in 2023 as I prepared for my inaugural exhibition with Thompsons Gallery. It became much more than a record of paintings in progress; it was an opportunity to reflect on the path that had led me to that moment and the reasons I continue to paint. The title, *Temet Nosce*, is derived from the ancient Greek maxim *Gnothi Seauton*—"Know Thyself." For me, it represents the ongoing process of understanding who we are through our work, our experiences and our willingness to keep learning. Painting has always been that journey of self-discovery. Every canvas presents new questions, new challenges and, occasionally, new answers. Creating the film allowed me to step away from the easel and look at my practice from a different perspective. Rather than focusing solely on finished paintings, I wanted to share the quieter moments that are rarely seen: early starts, long days spent painting outdoors, the uncertainty that accompanies every blank canvas, and the determination to keep returning until a painting finally says what I hoped it would. Much of my work is painted en plein air, where changing light, weather and the pace of life constantly influence the outcome. Those experiences shape not only the paintings themselves but also the way I think as an artist. They have taught me to embrace unpredictability, to observe carefully and to trust instinct as much as technique. The exhibition at Thompsons represented an important milestone in my career, but it was never the destination. It was simply another stage in a much longer journey—one that began with a fascination for light, colour and atmosphere and continues every time I set up my easel in a new location. Looking back now, I see this film as a snapshot of a particular chapter rather than a conclusion. I hope the film offers a more personal insight into the person behind the paintings. Art is often viewed only through the finished work hanging on a wall, yet every painting carries with it hours of observation, experimentation, doubt, excitement and perseverance. Sharing that process felt important because it reveals the human side of being an artist. Whether I'm painting the streets of London, the skyline of New York, the tranquillity of the countryside or the changing British coast, my aim remains the same: to create paintings that communicate a genuine sense of place and invite the viewer to pause, look more closely and experience a moment that might otherwise have passed unnoticed. I hope you enjoy this glimpse behind the scenes. It is a reflection of where I was in 2023, but more importantly, it marks one point on a journey that is still unfolding.

    26 June 2026

    Nick Grove painting in New York City, USA.

    Nick Grove painting in New York City, USA.

    This photograph was taken while I was painting on location in New York City, one of the most energetic and visually stimulating places I've ever worked. Painting outdoors, surrounded by the constant movement of people, traffic, architecture and changing light, is both exhilarating and demanding. Every few minutes the city changes – the shadows shift, reflections appear and disappear, and the atmosphere evolves almost imperceptibly. Capturing even a small part of that energy requires concentration, quick decisions and a willingness to embrace whatever happens around me. Working en plein air allows me to experience a place rather than simply observe it. Instead of relying on photographs, I paint directly from life, responding to the colours, sounds and atmosphere as they unfold. The sensory experience becomes part of the finished work. The temperature of the day, the rhythm of the streets, conversations drifting past, even unexpected interruptions all become part of the creative process. People often stop to watch, ask questions or simply stand quietly for a few moments. Those encounters are one of my favourite aspects of painting in public. Art has a wonderful ability to start conversations with complete strangers, and I've met fascinating people simply because they were curious about what was appearing on the canvas. Those brief exchanges often become treasured memories that are inseparable from the paintings themselves. New York offers an endless variety of subjects. Towering buildings sit alongside historic architecture, tree-lined parks provide moments of calm between busy avenues, and every neighbourhood has its own unique character. Rather than trying to document every detail, I'm interested in capturing the feeling of being there—the atmosphere, the changing light and the emotional impression that remains after the moment has passed. Although I work quickly outdoors, these sessions are never rushed. They require careful observation, patience and an openness to the unexpected. Weather conditions, passing clouds and the movement of people continually challenge the composition, encouraging me to simplify shapes and focus on what really matters. These limitations often lead to paintings with greater spontaneity and vitality than would be possible in a studio. This image offers a glimpse behind the finished artwork and into the reality of my practice. It shows that every painting begins with time spent looking, thinking and responding to the world directly. Whether I'm working in New York, London or elsewhere, my aim is always the same: to create paintings that communicate not only what a place looks like, but what it feels like to stand there in that particular moment. For me, painting is as much about the experience of discovery as it is about the finished piece. Every location teaches me something new about light, colour, composition and observation, and every painting becomes a record of a specific place and a specific moment that can never be repeated.

    26 June 2026