ArtistsNetwork.com 57he explains, “while studio work is all
about problem-solving.” Put another
way, “Painting outside is all about
painting from the shoulder, while
painting in the studio is all about
painting from the wrist.” He’ll make
careful adjustments, softening an edge
here, adjusting the color there and
finally adding a few salient details
before framing a painting for the gal-
lery. “Time,” Knight insists, “is the best
judge of art. That’s why a painting is
often in the studio for months or
even years before I exhibit it. It takes
me that long to work out what I need
to do to change it or fix it.”REPEATING THE SCENE
As a young painter, Knight realized
that it just didn’t work for him to
paint in the field with other artists,
because they’d all “want to move to a
different location after a painting ses-
sion. “I found it so inhibiting,” he says.
“I felt I hadn’t said enough about what
I had just painted. I could see where
I could improve the painting. I could
see that there were other alternativesCoastal Dunes, South Coast
oil on linen affi xed to board, 24x43A Quiet Corner, Venetian Canal
oil on board, 30x40