Morgane Pairain is a French painter based in South London whose work is shaped by emotion, intuition and a deeply personal response to the world around her. Drawing inspiration from her surroundings, her upbringing in France and Morocco, and her travels, Pairain creates predominantly abstract paintings that explore the relationship between colour, form, memory and feeling.
Working primarily in acrylic, while also incorporating oils, watercolour, pastel, graphite and collage, Pairain approaches each painting as a process of discovery. Rather than beginning with a fixed outcome, she allows instinct and the evolving relationship between artist and artwork to guide the composition, resulting in works that feel spontaneous yet considered.
At the heart of Pairain’s practice is a desire to communicate visually what can be difficult to articulate through words. Having drawn and painted from an early age, she describes visual expression as a natural language, using it to invite viewers into their own interpretations of mood, experience and the complexities of everyday life.
Largely self-taught, Pairain has developed her practice through workshops and mentorship with established artists, including British abstract painter Claire Chandler. Her work has been exhibited across Surrey and South London, including selection for The Horton Summer Exhibition, and she is represented by The Vellum Mills Gallery.
Are you self-taught, or did you undertake formal artistic training?
I am mainly what you might call a self-taught artist in the sense that I did not do a degree in art, but I have done many art courses, including a one-year foundation certificate in art and design at West Dean College, and a few short courses with the Royal Drawing School in London.
How would you define your visual language or conceptual approach?
My visual language is based on an exploration of colours and the effect this has on psyche. One of my favourite books is “Interaction of Color” by Josef Albers. I also love observing people and capturing their body language in everyday life. And as much as I enjoy this, being in nature is also absolutely essential to my wellbeing and I enjoy remembering – or imagining – landscape to help calm my mind. My work tries to encompass these ideas.
Can you describe your creative process from conception to completion?
Regardless of the style I decide to use, my process always start with an observation of my environment. I can lose myself (and everybody else in the process!) doing this. But when I focus on people, my process usually starts with a simple photograph taken with my phone. I then reproduce this directly into papers or canvas or wood board. I don’t use projection. Then, depending on the medium I use, it will take days or weeks to develop to a place I’m happy with.
When I focus on abstracting the landscape, I usually work from memory and with music, which helps me forget myself into the feeling that I want the painting to express. It is a very freeing activity, much different to my figurative style.
Does narrative, symbolism, or storytelling play a role within your work?
Storytelling plays an important role in my figurative work. I want my work to look at the work and feel the desire to understand what the story is being – it is very entertaining to hear the different interpretation that people give to my faceless people.
Which artists have most influenced you historically or contemporarily and why?
There are so many artist that inspire me, for different reasons but if I had to pick up two I would say: Rothko for his use of colour, and Milton Avery for his depiction of people.
What personal, cultural, or environmental influences shape your practice?
I grew up in France and in Morocco and both play a very important role in my work. I guess my French upbringing transpire in my direct no-nonsense depiction of people, and my Moroccan upbringing is expressed in the bright colours that I use.
Where is your studio based, and how does the space inform your creativity?
I currently work from home – my kitchen more precisely – but I am making plans to get a bigger space. But working from my kitchen, in the belly of my home, actually works well for me because I am very time poor. As well as being an artist, I run my own acupuncture clinic and I am also a government policy advisor.
Do you have any rituals or rhythms that anchor your studio practice?
I don’t have a ritual to anchor my practice, but I am incredibly self-disciplined. I have to in order to manage my workload. My husband actually has to make appointment to see me! I think it’s a good way to keep the relationship alive (it’s a tight rope to walk though).
What bodies of work or projects are you currently developing?
I am continuing to develop 2 series of work in parallel. One called “People without faces”, which focus on voyeurism by focussing on capturing people’s body language and blanking out the face. And other series of work called “Colour blocs”, which focus on abstracting the landscape with big blocks of often bright colours.
Where can collectors encounter or acquire your work?
I exhibit frequently and the best way to find me is to follow me on Instagram @morganepairainpaintings. My website is currently being updated but my exhibition listing is usually up to date. I am also always happy for people to come to my home to see the work for themselves if they want to.
