Neal Scrase is a contemporary artist whose work moves between surrealism, portraiture and imaginative storytelling. Self-taught, he has been painting for most of his life, developing a practice rooted in inner vision rather than direct reproduction. His paintings seek to reveal images shaped by dreams, narrative and personal imagination, offering viewers access to worlds that exist beyond the immediately visible.
Working primarily in oils on canvas, linen and paper, with occasional use of acrylics, Scrase explores colour, symbolism and atmosphere as tools for expanding perception. Some of his works are also produced as limited editions, framed with hand-engraved glass that highlights elements of the base image and introduces a dimensional, illuminated quality.
In this interview, Scrase reflects on his creative process, his resistance to convention, the influence of artists such as Dalí, Escher and Man Ray, and his current City Portraits series, in which urban street plans and human faces merge into layered portraits of place and identity.
Are you self-taught, or did you undertake formal artistic training?
Self-taught.
How would you define your visual language or conceptual approach?
I have been painting for most of my life, but it is only in the last 25 years that I have been able to truly devote my time and energy to this passion. This journey has been a fascinating exploration of the many techniques and processes that culminate in a finished piece of art.
My work gravitates towards the surreal, aiming to portray the images I envision rather than merely replicating what is visible to all. I strive to offer a different perspective, an exploration of what could be if we let go of the need for exact reproduction.
Colour, in particular, is a medium I love to manipulate for artistic impact. Imagine a world where the image is monochromatic or set in an extreme tonal range, visible only in the mind’s eye. This is the essence of my work.
I create on canvas, linen and paper, primarily using oil paints, with occasional forays into acrylics. Some of my pieces are produced as limited editions, framed with hand-engraved glass that highlights parts of the base image. This technique introduces a third dimension, which can be illuminated from within the frame, adding a unique, ethereal quality.
Can you describe your creative process from conception to completion?
Depending on the type of image I am working on, I will either sketch directly onto the canvas, allowing the idea to develop organically as the work progresses. Often, I begin with a single line and build the composition gradually, adding each element intuitively rather than following a predetermined plan.
For more complex pieces, I use Photoshop as a digital sketchbook. I gather several reference images and layer them onto a canvas before developing the concept further. This approach allows me to experiment freely and make mistakes without losing significant time by having to restart a sketch from scratch.
Once I have established a basic composition, I break the image down into outlines and continue sketching from that point. For particularly complex works, I may print a very faint outline directly onto the canvas to establish scale and proportion before beginning to develop the painting.
A sketch rarely becomes the final artwork; rather, it serves as a starting point and framework for the creative process.
Does narrative, symbolism or storytelling play a role within your work?
Yes, I cannot work without a story or narrative. Painting is my way of telling stories that I cannot adequately express in words. These stories may originate from a dream, a vision or an idea that I feel compelled to explore visually.
Often, my paintings contain subtle layers of symbolism, using objects, props and carefully considered details to suggest meanings, provide context or reveal aspects of the narrative. These elements act as visual clues, inviting the viewer to engage with the work and interpret its deeper significance.
Which artists have most influenced you historically or contemporarily, and why?
Artists such as Dalí, Escher and Man Ray gave me permission to break convention, trust my imagination and move beyond simply painting what the viewer can see. Their work demonstrated that art can reveal unseen worlds, challenge perception and explore ideas that exist beyond ordinary reality.
Rather than painting what is visible, I paint what only I can see. My work is an attempt to give form to thoughts, visions, dreams and narratives that exist within my imagination, inviting others to glimpse a world that would otherwise remain unseen.
What personal, cultural or environmental influences shape your practice?
I try not to be influenced by external cultures, trends or events, and work hard to avoid allowing outside forces to dictate the direction of my art. My aim is to portray my inner visions as honestly and directly as possible, presenting them from a personal and unfiltered perspective.
Of course, this is almost certainly impossible. We are all shaped, consciously or unconsciously, by the world around us. Yet recognising this only makes me strive harder to resist being led by prevailing fashions or popular opinion.
Throughout my life, I have tended to move against the tide, choosing my own path in music, culture and creative expression. That independent spirit remains central to my work, guiding me to trust my own vision rather than follow the expectations of others.
Where is your studio based, and how does the space inform your creativity?
As a natural night owl, I do much of my creative work late at night and into the early hours of the morning. My studio is now based at home, where I can work uninterrupted and immerse myself fully in the creative process.
Previously, I worked from a studio on a farm, an environment that provided both space and inspiration. I also maintain a workshop in a nearby village, which serves as the centre of my professional practice as a self-employed fine art printer. Balancing these different workspaces allows me to pursue both the technical and creative aspects of my artistic career.
Do you have any rituals or rhythms that anchor your studio practice?
One aspect of my working process that is important to me is the environment I create while painting. I usually work while listening to fiction through Audible, wearing noise-cancelling headphones to minimise distractions and maintain focus.
It typically takes around twenty minutes for me to become fully immersed in the creative process. Once I reach that state, I often lose all sense of time and become completely absorbed in the work. The combination of storytelling and solitude helps me enter a highly focused, imaginative space where ideas can develop freely and uninterrupted.
What bodies of work or projects are you currently developing?
I am currently coming to the end of a series of works titled City Portraits, in which I combine city street plans with human faces, or perhaps it is the other way around. Each portrait is intrinsically linked to a specific city, with the structure and character of the place becoming part of the identity of the face.
The series began through a happy accident, an unexpected visual connection that sparked an idea and led me to explore the concept further. What I initially thought would be a single work gradually evolved into an ongoing series. Each time I believe I have reached the final piece, another city seems to present itself, demanding to be transformed into a new portrait. As a result, the series continues to grow, driven by curiosity as much as intention.
Where can collectors encounter or acquire your work?
My work is available through my website and through The Q Gallery. I also aim to exhibit at a couple of art fairs each year, as these events provide valuable opportunities to present new work, engage directly with collectors and visitors, and connect with a wider audience.
Exhibiting in different settings allows me to share my work with people who may encounter it in very different ways, whether online, in a gallery environment or through the more immediate experience of an art fair.
For more information visit Neal’s website.
Neal will be exhibiting at FLUX Exhibition – London in September
