Q&A with Belfast artist Louise Wallace

As part of our partnership with the MAC, we’re extremely lucky to be able to display works of art from a different artist each year in our Belfast office. This year, we’re delighted that we’ll get to see paintings by Louise Wallace every time we come to work, and we’re sure that our clients will appreciate it too.

Belfast-born Wallace is a highly acclaimed artist who has been longlisted for the John Moores Painting Prize, shortlisted for the BEEP Painting Prize, and won the Jackson’s Art Prize 2024 Oil Award. She is also a lecturer in painting at the Belfast School of Art.

In 2023, she had a major solo exhibition at the MAC, so it’s a great privilege for us to be the next host of some of her work. Other pieces can be found at the Bankside Gallery, Ulster University, and in public and private collections around the world.

We’re very grateful that Wallace also spared the time to answer some of our questions about her artistry and influences. We’ll share her responses with you here, so that the next time you’re visiting us at City Quays 3, you’ll have some insight into the art on display.
 

How did you start out as an artist and which artists influenced your work?

I started my art education at age 28. After studying law at Queens University Belfast, I came to Belfast School of Art for my art degree, and never left! I went on to do a PhD and took up a lecturer post once I completed my doctorate. Since graduation, I have exhibited my work in New York, China, London, Dublin and here in Belfast.

The students I teach are a real source of inspiration. They are always so full of enthusiasm and questions! I learn from them as much as they hopefully learn from me. I also greatly admire the work of Helen Verhoeven, Tal R, Karin Mamma Andersson and, of course, Henri Matisse.
 

What are the top three influences which have shaped your artistic style?

I was taught by a great painter called David Crone. He always told me to loosen up and it took me years to figure out how to do that. It is not as easy as it sounds!

Travel and looking closely at painting all over the world has really helped me understand the medium. I saw an amazing exhibition in Amsterdam several years ago, where the work of Van Gogh and Munch were hung in relationship to each other. I visited that show three times in two days.

I listen to music a lot in the studio and musicians like Cate Le Bon, Joan As Police Woman, and David Bowie help me think about unusual angles, dissonance and colour. Music and art are very connected for me. I played in bands before I went to art college.
 

What is your favourite medium and why?

I love oil paints because you can change the composition a million times. I also love working on paper to generate ideas. I use tester pots of household paint, wonky brushes, scissors and glue and try to be as open and playful as possible. Lately, I have been collecting random scraps of wood to paint and then stack them like a collage.
 

How do you begin your work? Do you have a set method or does your technique vary from piece to piece?

I begin with reading and looking. Sometimes it’s an old painting by Titian or Manet, sometimes it’s a catalogue on garden design in the 18^th century. Lots of different ideas percolate for a while and then I start drawing and collaging in that open way.

I try not to get too bogged down with a specific plan for a painting. Once the painting itself is started, it can shift and change many times. The original idea may not end up in that painting at all! It can be frustrating and difficult when the painting has a mind of its own.
 

Which piece of yours are you most proud of, or consider a particular favourite?

‘Pond Life’ was longlisted for the John Moore’s Painting Prize which was absolutely thrilling. That prize is the pinnacle in UK painting.

‘Pond (After) Life’ was shortlisted for the BEEP Painting Prize and was exhibited in Swansea as part of the competition. Both these paintings were difficult to make. I really had to listen to the surface as things moved around. The compositions made themselves really. So, to have those works longlisted and shortlisted for prestigious painting prizes was hugely encouraging.

Our thanks to Louise Wallace, and to the MAC Belfast for making this possible through their art leasing programme. To find out more about our partnership with the MAC, read our recent update.

To contact or read more about Paul Kerr, visit his biography here.