Nick Potter

Nick Potter was born in Chesterfield, Derbyshire, of crooked spire fame in 1959 and has been told he could always draw. When he was young, he was lent a beautifully illustrated edition of The Jungle Book by a neighbour. For months he religiously copied the exquisite pen and ink drawings of animals which adorned its pages. He made a portfolio from card and wrote NICK POTTER, ARTIST. KEEP OUT on the front. It seems all he has ever wanted to be was an artist. Unfortunately life doesn't always give you what you want, well not immediately anyway.

I enjoyed a comfortable and happy childhood. My father worked in a steel factory, my mother was a teacher. Both worked hard to provide for me and my two younger sisters. During my secondary education at Netherthorpe Grammar School I engaged in a wide variety of activities and sport. As a fairly strict school, blazers were to be worn at all times, except for sport and in the art room. I was very good at games and art. I was the only pupil in my year taking A level Art. I therefore received one to one tuition from my art teacher Bob Widgery, a kind and talented Welshman who was a friend rather than a teacher. Our paths still cross. He was very encouraging and taught me to observe rather than see. My then girlfriend Gillian was a talented artist with a style of her own. She taught me lots including the art of watercolour. I sold my first painting to my headmistress for £10. She wryly suggested I might invest some of it in a razor!

Despite attaining an A at A Level Nick Potter was encouraged to go to University rather than Art School as this would give him proper qualifications. He went to Leicester University and read Archaeology. Although he continued his art most of his time was taken up with student type activities such as beer, girls and sport- oh, and of course study.

On leaving University I did a P.G.C.E course and reluctantly went into teaching in Chesterfield. This didn't work and I got a job as an Educational Publishing Rep. My wife and I then moved to the beautiful village of Great Bowden in the heart of the Leicestershire countryside. Living in the country and fuelled by frequent visits to Cornwall, Scotland and the Lake District I became much more interested in Landscape painting. I sketched prolifically and painted watercolours and even exhibited at various galleries and in exhibitions. I longed to paint loose watercolours like Edward Seago or Edward Wesson but failed. My style was more like a cross between James Fletcher-Watson and David Bellamy. I became very frustrated, despite illustrating a couple of children's books and a cookery book.

In 2003 Nick Potter and Natasha had the opportunity to become partners in their own gallery, a dream come true. They launched Charisma Gallery in Matlock, Derbyshire.

I sold a lot of paintings and hundreds of cards in the gallery. Selling work to strangers in your own gallery is a real thrill. At this time I began to paint in acrylics on canvas with some success. Natasha ran the gallery. We made a lot of artist friends, held previews and exhibitions and attended events such as The Manchester Art Show. My eldest son Tom and daughter Alice helped us in the business. The success of my work in the gallery encouraged me to approach other galleries. I recently had work in 16 galleries from Scotland to Cornwall. Selling work in other galleries gave me a lot of confidence, as did the constant support of family and friends.

After experimenting with a new mixed media technique, I was encouraged by an artist friend to submit work to Washington Green. I had never thought of my work as being commercial but was excited when asked to show my work to Glyn Washington and even more excited when he liked it. I am delighted to be given the opportunity to show my work to a wider audience and to see my work in print. Thanks to Washington Green my dream of becoming an artist has been eventually realised.

Nick Potter says I paint in my garden studio. This is my space. I do not need natural light and usually have the blinds drawn and door shut. I like privacy when painting.

The last thing on my mind at night and the first thing I think of in the morning is the painting I am working on or about to start. However in the morning practicalities take precedence: breakfast and school for the children and work for Natasha. When possible I walk Dylan the half mile to school.

I virtually run back in anticipation of a days Painting. Armed with milk for my studio cooler, a birthday present from Natasha and my mobile phone I head into the studio. I resent the need for the mobile but being incommunicado all day is not practical.

Over a cup of tea and my latest story playing on the CD, I peruse the current work or prepare to begin a new canvas. Once I begin I only pause to make tea or change CDs. I work quite messily once into my stride with paint and brushes everywhere. I do not eat during the day as I regard it as a waste of precious time. I paint until it is time to fetch Dylan from school. From then on domesticity takes over.

I sort Dylan a snack or get his tea and then prepare the evening meal and tidy up. When Natasha comes home we eat tea together. I rarely paint in the evening and usually spend it with the family apart from Friday night when I go to the pub with my mates.

It's good to leave the work locked in the studio overnight. It creates excitement for the next morning-that first glimpse of the painting and either joy or despair. If I am feeling insecure about a picture I might manufacture an excuse to fetch something from the studio and have a crafty peak.

I retire to bed with my head full of new ideas.