Seeing Beyond - Interview with Laura Medcalf pt.II

III. Landscape and Material Dialogue

The works in this show were shaped across different natural settings. Was there a specific place that became especially meaningful in this process?

Yes, the Jurassic Coast in Great Britain has become very important in my work. It was one of the first landscapes I worked in back in 2018, and returning there recently brought a renewed sense of connection. The meeting of cliffs and sea and the sense of deep geological time make it a powerful place to work.

Each environment—freshwater, saltwater, different times of day—leaves its trace on the final work. How do you respond to these changing conditions while you're creating?

I see each condition as a collaborator in the process. The materials react to light and minerals in beautifully unpredictable ways. The blues shift subtly, never quite the same twice. While I shape the composition and make deliberate choices, the final outcome always holds a sense of surprise. Gold tones, though rare, sometimes appear with stunning brilliance, especially when they glow against deep blues. It becomes a conversation between my intention and the environment's influence, with the finished piece holding traces of both the place and my emotional state in that moment.

Despite the organic unpredictability, your pieces still carry a recognisable tone, especially through texture and colour. How do you hold that continuity?

The continuity of texture comes through the movement of my hand. There is an instinctive rhythm in the way I work that naturally carries across each piece. I have a clear understanding of which natural materials create certain textures and forms, and this helps me guide the outcome. I feel I have a distinctive style, which is simply how I express myself. I am always drawn to particular forms of layering, and that repetition becomes part of the visual language. The recognisable tone of blue, for instance, comes from the materials I use to make the paint. Even when nature plays a strong role in shaping the final piece, there is always a consistent approach in how I create the works.

IV. Reflection and Direction

You often work in landscapes shaped by erosion, layering, and renewal. Do you see a parallel between these natural rhythms and how your ideas evolve?

Yes, very much so. My ideas often emerge slowly through reflection and accumulation. They shift over time just like the materials I use. The natural rhythms of erosion and renewal are echoed in how I work and think on site.

Your work invites viewers to slow down and pay attention. How do you imagine these pieces resonating in a busy urban space like London?

I hope the pieces offer a rare moment of calm amidst the rush of city life. In a place like London, where everything moves at such a fast pace, the subtlety and stillness of my works will provide a space for people to pause, take a breath and reconnect with something more rooted. I'd love for viewers to discover something new with every glance, as each piece reveals layers upon layers of detail.

Looking ahead, are there new materials, landscapes, or directions you're curious to explore after Seeing Beyond?

Yes, I'm interested in exploring new locations as well as returning to familiar ones, but approaching different areas within them. That balance between discovery and revisiting feels essential to my process.

Although I do not plan to entirely move away from paper, I am beginning to experiment with fabric and canvas works. These materials offer new possibilities but require more planning to bring on site, which is becoming an exciting part of the preparation.

At the moment, I am also researching new pigments and further exploring light sensitivity in the materials I use. I have become particularly drawn to the colour orange. Its warmth and vibrancy contrast the deep blues I often work with, introducing a new kind of tension and energy into the palette.

Laura Medcalf - Mate Ternovics