Dawn Fincham’s richly layered works transform fragments of the past into vivid, character-led worlds. Combining vintage engravings, found imagery, digital collage and direct painterly intervention, the London-based artist creates compositions that invite viewers to look beyond the surface and uncover their own narratives.
In this conversation with The Flux Review, Fincham reflects on the relationship between graphic design and fine art, the importance of storytelling and symbolism, and the process that takes a work from digital construction to an expressive canvas. From Renaissance drama and contemporary collage to the imaginative worlds of Jules Verne, her practice is driven by curiosity, visual instinct and a desire to make images that reveal something new with every encounter.
Are you self-taught, or did you undertake formal artistic training?
I studied Fashion and then Fine Art at BTEC level at college, before graduating from Southampton Institute with a Fine Art degree in 1997.
I found it hard to make a living from my fine art straight out of college, so I began to consider other creative directions. I was lucky enough to get hold of a second-hand computer, taught myself the Adobe Creative design packages and secured a job as a junior graphic designer. My full-time day job is still in graphic design, although I am now a senior designer.
The combination of my graphic design and fine art skills is how I construct my art today. I try to seize as much time as possible after my day job and family commitments to concentrate on my art.
How would you define your visual language or conceptual approach?
My artwork is about storytelling.
I morph vintage engravings with digital graphics, photographs and drawings to illustrate my interpretation of the world around us. I source these from many different places, including old engraving books I have accumulated over the years, as well as lucky finds from charity shops.
The characters I choose are ones that I feel drawn to. For me, they exude a certain “je ne sais quoi”. I love taking found images from one context, completely changing them and creating my own world.
Can you describe your creative process from conception to completion?
A strong main character is essential in my work. I sift through hundreds and hundreds of photographs and stock images to find the right model. Most of the time, this is where I start. Having a character I am drawn to, who exudes attitude, is so important to me.
At the bottom of most pieces, I create a scene, like a little diorama. I imagine that this area tells the story of the main character in some way, either directly or by implication. Compact, busy surreal landscapes also populate my artwork, alongside vivid colour palettes that obscure the work’s hidden meanings. I hope the art inspires viewers to look and look again, building narrative through layers and encouraging them to gain a different perspective each time.
Music is another major inspiration. Sometimes I listen to a song I like, read the lyrics, and they prompt a visual story that I want to create. My life and the world around me also affect how I use and choose the images I find, both consciously and subconsciously.
Once I have an idea of the story I would like to tell, I begin searching for other images that will bring it together. I mix hand-drawn images, photographs, old pictures from magazines, stock images and engravings. I scan these images and then use layering techniques to create compositions and scenes on my Mac, like a digital collage. I love taking all these found images from one context, completely changing them and creating my own world.
I get the artwork printed onto canvas and then work directly into it, drawing over images and adding paint, different mediums, ink, varnish and glitter, whatever works to achieve the image I am after. Sometimes the original image changes dramatically.
I love both stages of the process. The beginning, the ideas phase where anything can happen, truly excites me. Which way down the rabbit hole will I go? I love the fact that I can use my design skills to source and create anything that is in my head. In the past, I felt slightly held back by only using my painting skills to achieve the vision I wanted.
I also love the final stage of the artwork. Once the image is printed onto the canvas, it is my opportunity to get hands-on, with no Apple Z button to press or option to save as Version 2. The canvas takes on a new persona once it moves to the next level of treatment.
I work in many different ways. Sometimes I have the canvas resting against the wall, but most often I work from above, with the canvas laid flat on the floor or table. I find that my work takes on a different energy. It becomes more fluid and organic, like stepping into an arena.
Combining the two techniques has opened up my world and unleashed so many possibilities. I am so pleased that I have found a way of working that feels right for me. Exciting times.
Does narrative, symbolism, or storytelling play a role within your work?
Yes, narrative is very important to me. Each piece is full to the brim with symbols and suggestions. I love adding hidden treats between the layers and hearing how others interpret them. I hope that each time a viewer returns to a painting, they find something new.
I have recently been inspired by the books of Jules Verne and have been incorporating a sprinkling of vintage engravings sparked by their stories.
Which artists have most influenced you historically or contemporarily, and why?
Historically, I am influenced by Renaissance art. There are no particular artists, but the contrast of dark backgrounds, dramatic light and intense colours is a major inspiration for my current work.
In contemporary practice, I am constantly influenced by so many artists online. Two of my favourites are Kristjana S. Williams and Von Wolfe. I love the way Kristjana uses engravings in her collages, transforming them into surreal worlds full of narrative and colour. Von Wolfe’s beautifully dark, intriguing and photorealistic uncanny portraits simply blow me away.
What personal, cultural, or environmental influences shape your practice?
Working in graphic design for the last 25 years has had a massive effect on my art practice. I used to see graphic design and fine art as two different entities. They supported one another, but I did not really dig deep until fairly recently.
In 2024, I got married, after a 20-year engagement, and decided to create some portraits for the venue. The intention was for them to line the ceremony room, becoming the voyeurs and additional guests at the wedding.
As I was creating the artwork for myself, I did not overthink things. My process was similar to how I work in design, researching and collecting images based on my objectives. I used a combination of photographs, drawings, old charity-shop books and stock images. Anything that I thought looked good went in and came together as a digital collage.
I printed them onto canvas and then worked heavily into them again with paint, ink, varnish, glitter and anything else I could get my hands on.
I have worked in many different mediums over the years, but working in this way felt right for me and I loved the process. I was finally able to visualise what was going on in my head.
The paintings received such a positive response that day, and I sold almost all of them to friends and family. To say I was over the moon would be an understatement. It spurred me on and set me on the journey I am on today.
Where is your studio based, and how does the space inform your creativity?
I am a London-based artist working from home. Being able to step directly from my living space into my working arena allows for an uninterrupted transition in my work. As they say, “eat, live and breathe art”. My art is my world and my world is my art. That is the way it has always been.
I leave unfinished paintings dotted around the house and on the walls. They are always on my mind, helping me to see what my next direction will be, intentionally or subliminally.
Do you have any rituals or rhythms that anchor your studio practice?
When I need to step back and find inspiration, I go for a run. It is like hitting the reset button. It helps me digest, reflect and mentally clear a new space for focus and clarity.
Music is also a must. Usually, when I am in the early stages and need serious focus, I listen to ambient music or simply work in silence. Once I have a plan, I zone in and put on my usual playlist, mainly electronic music.
What bodies of work or projects are you currently developing?
I am working on new artwork inspired by the books of Jules Verne for upcoming exhibitions and fairs. The vintage engravings, in particular, are a catalyst for direction and adventure.
Where can collectors encounter or acquire your work?
Collectors can view and acquire my work through exhibitions and fairs, private viewings and direct enquiry. I regularly share new work and projects through my Instagram page, @dawn.fincham, and pieces are available via my website, www.dawnfinchamstudio.com.
I also take on a limited number of commissions each year.
