Artfinder artist Kimberley Day is the 2026 winner of Landscape Artist of the Year! We sat down with Kimberley to chat about her artistic process and experience on the show.
To kick things off, can you tell us a bit about yourself? How long have you been painting and how did you get started?
I’m a working artist based on the south coast of England in Dorset, UK. I have been painting since my early teens then had a long hiatus during my late twenties in to my forties due to my film career as film days are very long! I was more recently able to return to painting landscapes at the onset of covid and ever since. My work often starts with plein air studies that then move back to my studio where my work transforms from the literal to the lyrical. Using composition as storytelling and colour as feeling. I work in oils, acrylics, and pastels on linen or paper.
You’ve spent over 25 years working behind the scenes as a concept artist on major films (including the upcoming Masters of the Universe). What does a concept artist actually do, and how did that daily practice of visual storytelling shape your personal painting style?
A concept artist's role at base level is to illustrate and conceptualise any possible idea put down on paper, whether that be a hand prop for a futuristic laser gun or a fairytale victorian tree house! We get given a script (and sometimes we don’t) and we work directly with the designer or director in creating an image that everyone can agree on. Sometimes this can take months to get to the right place design wise and we can produce many iterations along the way. I think one of my main personal takeaways from working in films is the freedom to think very freely about creating work, also being very used to amendments or changes in the design process makes you unafraid to experiment in the process of creating my own work.
The one thing I like most about my own discipline is that it has also allowed me to find my own personal language that is very separate from my film work, although I would say, If there is one thing that is consistent in both my concepts and paintings is I’m always looking to express some element of mystery in the work.
Taking the leap from working behind the camera in film to being in front of the cameras on Landscape Artist of the Year must have been a whirlwind. What motivated you to finally apply for the show and what that experience like?
It was actually a rather simple nudge from a fellow artist who told me I should apply (it was the last few days before the deadline). I really didn’t think that hard about it and went in to it rather innocently, not really expecting to get anywhere as there are so many factors that come in to play. When turning up for the heats you really don’t know what work will produced on the day, with the pressure of time and filming, so it really was a bit of a shock getting through.
The experience was such a brilliant adventure, meeting other talented artists and now having my work hanging in the National Gallery of Ireland. It really has been a transformation for me – I had so many messages from viewers telling me that the work made them very emotional and I realised very clearly during this experience that painting really does have the power to move, give hope and solace to us all.
Now that your prize commission of Croagh Patrick is hanging in the National Gallery of Ireland, what’s next for you? How do you see your practice evolving on Artfinder now that the show has wrapped?
I think moving forward I will continue committing as much time as I can to the practice of painting, it is always an evolving process but I am starting to work on larger pieces at the moment, I’m actually slowing down a little to think more fully about the narrative element of my work. I have a few residencies coming up – it will be good to get time away to focus fully on new paintings in new locations.
Since your win, interest in your work has exploded! Several of your original pieces on Artfinder have already sold out. For collectors looking at your shop right now, which pieces are you most excited to have available exclusively on Artfinder?
I’m rather excited about one piece ‘Blossom No.4’ the idea of this momentary cycle of beauty with the spring bloom, there’s something in the idea of our own life cycle - not so dissimilar a tree blooming that I find comforting. I also pushed myself with regard to my mark making with this work and I think something exciting came out of that process that I will take forward.
It’s been a very busy spring with shows in London and more locally in Dorset. Now that summer is on its way I am looking forward to refocusing on my painting again and producing a body of work for a number of galleries and some more exclusive pieces both small and large for Artfinder.
