Sarah Wheatley

Tell us a bit about yourself

I’ve just turned forty, and I live with my two young kids and my husband in St Neots. My youngest son was born in August of this year, so it’s been quite an interesting time trying to balance my love of art with having a family. Being an artist isn’t my day job - I actually work in HR. But art has always been the side hustle I’ve come back to throughout my life. It’s only in the last five years or so that I’ve started to take it more seriously, by actually getting my art into galleries and putting together a proper portfolio of my work. And I’ve just loved it ever since. Really, it allows me to express a side of myself that feels like my truest self, I suppose. It’s just lovely to have that outlet to do what you love.

You’ve had quite a few exhibitions across the world. Could you tell us about that?

That’s been a really interesting experience. I normally paint massive paintings - I love huge canvases - and I have an art shed in the garden where I can just, you know, make a real mess. But having kids means it’s really hard to find the time to do those big pieces. So lately, I’ve been working on postcard exhibitions internationally. I think I did one in LA and another in Italy recently. It’s really exciting, and it’s just a different way to get your art out there. It also doesn’t take up huge amounts of time when you haven’t got it. That’s been really fun to do over the last couple of years.

How do you find juggling the different aspects of your life with your artistic pursuits?

I think if it’s something you love, you just find the time because you need it in your life. What I’ve tried to do over the last year or so is focus on smaller pieces. I do much more sketching now than I probably ever have, simply because I can bring a tiny sketchbook with me wherever I go. I’ve got the world’s smallest set of watercolours and a tiny little jam jar that I use for painting. I just take this little set with me anywhere. It keeps my hand in, while also being a way to make something a bit different. I'm not a watercolourist or a natural sketcher, so it’s been a nice way for me to try something new while feeding that need to create. That’s really been my focus over the last year or two - these very small-scale pieces, quick sketches, and things I can fit in around the rest of my life. I also challenge myself quite a lot to do five- or ten-minute sketches to see what I come up with. I’ve always got my little sketchbook on me, just in case I get a spare moment when the kids are asleep to go out and do a couple of quick drawings.

How would you describe your style of art?

I’ve always loved bright colours - whatever I do, that tends to be a feature. My work switches between a more pop-art style and a traditional Impressionist style. I like to mix things up and not always do the same thing. Some of my work combines blocks of colour with those more traditional elements. My cityscapes in particular are full of bright colours and are quite energetic. I think that sense of movement is really important to me in a painting.

I’ve noticed your work seems to focus a lot on cityscapes. What draws you to that kind of scene - something others might walk past without a second glance?

I’ve never really been drawn to portraits - I’m not someone who’s ever been able to do them. But for me, interiors are almost like a portrait of somebody. You can look at a scene and get a good sense of a person from the things they have in a room - the colours they use, how it’s all positioned. It’s almost as if they’ve just walked out of the room for five minutes, and the image I’ve tried to capture is that quick moment where things might not be all neat and tidy. That’s my version of portraiture, I suppose - a slightly different take. It’s a great way to capture people without them being in the painting.

Who or what are some of your artistic inspirations?

I absolutely love David Hockney’s work and the colours he uses. I also love Patrick Caulfield - he’s someone who really simplifies scenes into these almost cartoon-like styles. And there’s an American artist called Ed Ruscha who I’ve always admired. He’s more associated with that pop-art scene and does amazing pictures of things like petrol stations and ordinary subjects that reflect everyday life. And then, looking further back, there’s Cézanne and the more traditional Impressionist styles that I always come back to.

If you could choose your favourite piece of artwork by someone else, what would it be?

Manet’s A Bar at the Folies-Bergère. If you saw it, you'd recognise it. It focuses on a barmaid staring at the viewer. I just love the complete look of boredom on her face. I think it’s such a great image. There’s so much that Manet put into the painting that was important to him. It’s one of those works I could stand in front of for hours and still see new things in it every time.

What’s your relationship with The Broadway Gallery?

Last year’s open exhibition was the first time I was featured in the gallery. I submitted because I have young kids and didn’t have a whole collection ready, but I still wanted to get my work out there. I think it’s fantastic - the variety of styles they show is great, and it’s a really diverse and inspiring space.

What do you hope for your future as an artist?

I’d love to have more time to paint and experiment with different styles, while also getting my work into more galleries where it can interact with other artists’ work. Really, I just want more of it - that’s the hope: to get properly stuck into my art.

Sarah’s work will be displayed in The Broadway Gallery from 29th October - 29 November 2025.