Welcome to the 333rd edition of A View From the Easel, a series offering artists’ insights into their creative spaces. This week, we feature a special entry from British artist Celia Paul, who invites us into her minimalist home studio in London’s Bloomsbury. She has worked in this space since she was 22, and it mirrors the serene settings of her introspective artwork.
Interested in participating? Review our submission guidelines and share details about your studio using our form. We welcome all art forms and workspace types, including home studios.
Celia Paul, London, United Kingdom
How long have you occupied this space?
I’ve called this flat in Bloomsbury my home and studio for 44 years, having moved in when I was 22. The area has changed significantly since 1982, evolving from a quiet enclave to a bustling locale.
What is a typical day in your studio like?
I begin my day very early; my energy peaks in the morning. After enjoying tea in bed, I often start painting around 5am. Nowadays, I paint alone, which allows me to arrange my schedule freely. Previously, when working with sitters, I used the early hours to prepare myself mentally. I usually juggle one or two paintings at a time, often pairing a self-portrait with a seascape. I prefer silence over music due to the constant traffic noise outside, seeking an inner calm in my work.
How does your studio space impact your work?
My studio is intentionally sparse. Despite living and working here for so long, I’ve kept possessions to a minimum—just essentials like furniture and easels. This simplicity helps me maintain focus. How do you engage with the surroundings outside your studio? Bloomsbury offers a sense of acceptance and solitude. Unlike the family-filled streets of Notting Hill where I once lived, Bloomsbury represents freedom to me.
What do you cherish most about your studio?
The autonomy it provides is invaluable. It’s my personal space, accessible only by invitation. I also appreciate the elevated position, with views of the high branches of the plane trees. The large, north-facing windows in my primary painting rooms flood the space with light.
What would you change about your studio?
A lift would be a welcome addition, as moving large paintings down the 80-step narrow staircase is challenging. What’s your favorite local museum? My studio overlooks the British Museum, yet the long queues deter my visits. I used to enjoy the ease of accessing the Egyptian sculpture rooms. Now, they’re overrun with tourists. I adore the National Gallery as well, but spontaneity is lost due to required advance bookings.
What is your preferred art material?
I primarily use oil on canvas, occasionally working with watercolor. I favor oil paint for its versatility and ability to maintain texture without losing brilliance.
