Abigail Humphries’ practice unfolds through a distinctive language of sand and acrylic, a material process she has refined over more than two decades into richly textured, large-scale works that sit between painting and sculpture. Rooted in questions of memory, impermanence and emotional connection, her surfaces feel almost geological, as though each work preserves a moment, a feeling or a trace of human experience within its tactile strata.
After completing an art foundation course and graduating with a First Class degree in Photography from Derby University in 2001, Humphries spent many years working in design and photography while continuing to paint alongside her professional career. She became a full-time artist two years ago, bringing with her a deeply considered understanding of composition, narrative and the emotional power of images. Early influences such as Jo Spence and Rosy Martin informed her interest in the therapeutic possibilities of image-making, while the dramatic light, gesture and psychological intensity of the Old Masters continue to shape the emotional atmosphere of her paintings.
Her figures are deliberately featureless, stripped of clothing, identity and cultural markers, allowing them to become open vessels for projection, empathy and reflection. Emerging from the sand as if held within the material itself, they suggest rather than describe the human form. Pose, colour and texture become the carriers of feeling, inviting viewers to read the body through nuance, stillness and subtle shifts in gesture.
For Humphries, painting is both physical and intuitive. A work may begin with a memory, a posture, a relationship or an emotional state, then develop slowly over several weeks as layers are built directly onto the sand surface. The process allows the original feeling to shift and deepen, with changes in colour, light and form reflecting the evolving emotional register of the piece.
At its heart, Humphries’ practice is concerned with shared human experience: the need for connection, compassion, love and support. Her paintings ask viewers to pause, look closely and enter a space of quiet introspection, where the figure becomes less an individual subject than a guide towards feeling. Through sand, surface and silence, Humphries creates works that hold both fragility and permanence, transforming personal emotion into a wider meditation on what binds us together.
Are you self-taught, or did you undertake formal artistic training?
Since childhood, painting and drawing have been a significant part of my life, and I always knew I would pursue art in some form. I undertook an art foundation course followed by a degree in Photography at Derby University, where I graduated with a First Class degree in 2001. I then spent many years working in design and photography for a motoring publishing company, while continuing to paint in the evenings and at weekends, selling work from exhibitions in local boutique hotels. I became a full-time artist two years ago.
How would you define your visual language or conceptual approach?
My practice is rooted in sand and acrylic, a medium I have worked with for more than twenty years. I was initially drawn to sand because of its associations with time, impermanence and the fleeting nature of life. I wanted to create a surface that feels almost geological, like slabs of rock, each holding moments in time. My figures are deliberately without features in order to enable viewers to bring their own interpretation and emotional response to the work.
Can you describe your creative process from conception to completion?
My process is physical and intuitive. A painting may start with a memory I have, a feeling, a posture or an emotional connection. I don’t paint from life, as the figures are intended to suggest the human form rather than replicate it precisely. Importantly, I want the work to be driven by my internal vision and feelings rather than by observation. I usually paint directly onto the sand base and then build up the layers, allowing the image to evolve over time. Because the entire process often takes around a month, the emotion behind the work can shift as I paint, and that can influence the figure’s posture or the colours I use.
Does narrative, symbolism, or storytelling play a role within your work?
Yes, narrative is very important to me, although I prefer to keep it open to interpretation. I use anonymous figures so that viewers can project their own stories, memories and emotions onto the piece. Symbolism plays a big part, particularly through the use of sand, colour and pose. When I first started to use sand I was inspired by Tibetan sand mandalas and the idea that sweeping them away once completed symbolised impermanence – I wanted to do the opposite and create something lasting. The sand gives an earthy, tactile presence – its rough, imperfect surface encasing the figures in a permanent embrace – while leaving space for viewers to bring their own meaning to the work.
Which artists have influenced you historically or contemporarily and why?
Photographers Jo Spence and Rosy Martin were early influences of mine, particularly in terms of their recognition of photography as a therapeutic medium and their development of Phototherapy. I was already becoming increasingly aware of the emotional and therapeutic power of images when I was at university, both in making and viewing, then discovering their work opened my eyes to what was possible. My interest in photography, led me towards painting, which evolved into my current practice.
I have also always been drawn to the Old Masters for their mastery with composition, colour, dramatic light and shadows and the depiction of body language, such as postures and gestures to convey emotional depth. By personally studying the work of painters like Rembrandt, Caravaggio and Titian, has helped me to enhance emotional intensity in my paintings.
What personal, cultural, or environmental influences shape your practice?
My practice is shaped by personal experience, particularly relationships and the human need for connection. A traumatic experience in Sharm El Sheikh in 2005 also had a lasting effect on me and reinforced my interest in the therapeutic side of art. We are all linked by shared human experiences and the desire for love and compassion is not just something that I crave but as humans we all want and need and I aim to bring a sense of shared love, support and warmth via my figures.
By painting the human form devoid of features and clothing and using colour purely to reflect mood, I’m interested in moving my figures beyond cultural identifiers. My aim is that the viewer looks deeper than the visual appearance of the figures, they are intended to act as guides to a deeper psychological feeling.
Where is your studio based, and how does the space inform your creativity?
My studio is based in Ludlow, Shropshire. Having a studio and gallery in the same space means I’m constantly surrounded by my work, which keeps me immersed in it and always sparks new ideas. It’s also incredibly rewarding when people visit and share their thoughts of the work, those conversations can be very emotional at times and remind me that the viewer completes the work in their own way.
Do you have any rituals or rhythms that anchor your studio practice?
My day usually begins with a walk to the studio followed by coffee, calming music and a quiet moment to plan the day ahead. Working large-scale and using my hands throughout the process is itself a kind of ritual for me, and it feels grounding and meditative. I also like to step back from a painting once I think it may be finished, place it on the wall, and return to it later with fresh eyes. I tend to paint during the day and start again in the evenings because painting is my hobby and relaxation as well as my work, so exercise is also part of my day in order to keep a balance mentally and physically.
What bodies of work or projects are you currently developing?
I’m continuing to develop my practice, and research remains very important to me. I’m currently using light in a much more explorative way to see if it can enhance the emotional quality of my figures even further. I’m also developing a new body of work based on similar poses, where small shifts in posture, colour or texture can create very different emotional reactions. Alongside that, I’m gathering responses to some of my pieces in my gallery, so I can feed that insight into future works and create paintings in a much more collaborative way from the beginning through to completion. In addition, I am also developing some ideas for the FLUX exhibition in September, which I am very much looking forward to presenting.
Where can collectors encounter or acquire your work?
Collectors can view paintings on my website, abigailhumphriesart.com, on Instagram, @abigail_art_ludlow, or through my Saatchi Art profile. They are also welcome to visit my studio and gallery in Ludlow for a more personal experience. I also take commissions and my work has been selected for the Summer Exhibition at Plas Glyn-y-Weddw, in North Wales from July until October, FLUX exhibition in September and the Manchester Art Fair in November.
For more information, visit abigailhumphriesart.com and Instagram
Abigail is exhibiting with Flux in September
