Featured artist: Natalie Featherston

Nesting Instinct, 10x8, oil on Ampersand Gessobord

Artist Natalie Featherston works exclusively in the centuries-old realm of Trompe l’oeil (French for deceive the eye), creating dazzling paintings that combine the virtuosity of a Dutch master with a thoroughly modern mind. The Chicago Sun-Times has described her work as “Artful beyond just illusion and trickery, they are truly masterful still lifes made with both craft and wit.”

A Little Taste of Happiness, 8x8, oil on Ampersand Gessobord

Q: You accidentally discovered your love of painting in the early 90s while pursuing your master’s in music. How did you find out that you wanted to become an artist?

The first thing I discovered was that I didn’t want to be a cellist any longer, but I still wanted a creative outlet. I thought taking a drawing class at the School of Visual Arts might be fun while I sorted out my life. Completely walking away from a career in music after so many years was a little terrifying, but drawing and painting were so much more creative than following the notes on a page. I think I gravitated towards realism because of my background in classical music - maybe if I’d been into jazz, I would have become an abstract impressionist.

Peared, 6x6, oil on Ampersand Gessobord

Q: Can you reflect on the art instruction you received? How did those experiences shape how you now teach art students in your classes?

Believe it or not, finding good training in representational painting in the 90s was tough. Now there are so many wonderful schools and ateliers around, but in NYC, I sort of drifted from school to school until I found my teacher, Michael Aviano. I was so lucky to get to study with him for six years; he truly changed the course of my life. He had a very methodical and structured approach to teaching his program, which was based on drawing and perspective, monochrome painting including casts, and Munsell color theory. Each exercise built a specific skill set with deliberate practice, and there was lots of theory and note-taking as well.

I know this training has made me a better teacher because I was taught by someone who knew how to communicate complex concepts so that anyone could understand them. Michael demystified learning to draw and paint, focusing on building technical skills instead of relying on God-given magical talent.

Ray Gun, 14x11, oil on Ampersand Gessobord

Q: As an accomplished cellist, you have performed at Carnegie Hall and across Europe as a soloist and chamber musician. How does the vulnerability of being on stage solo compare to presenting your artwork in an exhibition?

I like hanging a painting on the wall much more than being on stage! I never had stage fright, but you lose some control in performance. What was 100% in rehearsal might become 87% on stage due to nerves, or at least it was that way for me. With a painting, I have all the time I want to feel like it’s finished. Of course, there are always successes and failures you see after a piece is varnished and hanging at a show, but it feels complete in a way a performance never did. The painting is a concrete expression of a moment in your life, but after the notes are played, it’s gone.

Message in a Bottle, 10x8, oil on Ampersand Gessobord

Q: Your choice of the Trompe l’oeil style is captivating and unique. Can you share with us what initially drew you to this approach and what aspects motivate your work?

When I first started painting professionally, I was a still life painter - flowers, fruit, that type of thing. Gradually, I started incorporating Trompe l’oeil elements into my work, and I began to see possibilities with humor, whimsy, and storytelling that I wasn’t getting with still life.

My biggest motivation is connection and communication, and Trompe l'oeil is unique in that it creates a shift in perception for the viewer when it’s done well. There’s a moment where they aren’t sure if it’s painted or real, and I love sharing that experience with them. There’s also the appreciation of virtuosity, which our brains are hard-wired to enjoy despite how one feels about ‘art’ in general. So, for me, Trompe l’oeil rings all of those bells.

Pomegranates, 6x6, oil on Ampersand Gessobord

Q: Can you walk us through your creative process from the inception of an idea to the completion of a piece? How do you approach the various stages of creation, and what role does your sense of humor play in shaping your final artwork?

I have a giant inspiration board in my studio where I collect ideas. I need it to be out where I can see it, not a computer file. I have all sort of things tacked up there that inspire my work - cartoons, song lyrics, snippets of poetry, stuff I find on walks, and tons of random notes on scraps of paper. I know exactly what I want to do with some pieces, while others take much longer to marinate. I have some ideas that have been up there for years.

Humor is almost always something I like to bring to my work. I try not to censor myself too much and strive to make paintings that I think are hilarious or have some sort of subtext or message I want to share. Occasionally, I’ll make something really over the top and think, ‘Wow, no one is going to want to hang this in their living room. I guess I’ll keep it,’ but those pieces have always found collectors who appreciate them like I do.

I paint from life, so all my painting models are set up in my studio. That can be something more like a still life, like the ‘box’ paintings I make on Ampersand panels, while some are collage models, I make from found objects. For me, building the stage for the painting is the most creative part. I’ll leave things set up and sitting out for long stretches at a time, making small adjustments until it feels right. Once I’ve committed to the setup, I paint it almost without deviation, so I must be fully committed when I start a piece.

Next, I make a simple line drawing, which I transfer onto the panel with an oil transfer. I only include enough information to get the general shapes and landmarks of the drawing down — much of my painting is refining as I go, and the transfer is only a roadmap.

I paint in an indirect method, which is a fancy way of saying I paint in layers. I start broadly with big brushes and refine as I go, adding more information to areas I want to emphasize. Most of my pieces take several weeks to finish, which is why I need to be pretty excited about a composition from the get-go — otherwise, I start to get bored, and it feels tedious.

In Case of Celebration Break Glass: Champagne, 14x11, oil on Ampersand Gessobord

Q: You have mentioned that you intentionally choose titles that don’t give away the meaning of your pieces. When leaving room for interpretation, how do you balance offering insights and allowing viewers to bring their narratives?

Oh no— I love a title that gives a clue to the viewer as to what the painting is all about. In fact, I’d say it’s your single biggest chance to communicate your ideas about the piece, short of writing text all over it, which is also something I like to do on occasion. I think a good title is evocative; it should spur the viewer to consider it in context to the whole painting.

What I shy away from is trying to explain what the piece is about with lots of jargon and art speak. Many times, someone will share their thoughts on a painting, and it’s totally different from what I had in mind. I love hearing their ideas because it lets me see my work in a totally new way. If someone really presses, I can talk about what inspired me to make a piece, but I feel like it interferes with their enjoyment of the art.

Habaneros in Landscape, 8x8, oil on Ampersand Gessobord

Q: How did you discover Ampersand, and what do you love most about Gessobord and Claybord for your work?

I love making art as an object - it’s a very niche part of Trompe l’oeil painting. Three-dimensional panels like the Ampersand cradled panels give you a chance to communicate something extra special to the viewer. I had known about Ampersand panels for years but hadn’t tried them until I thought of doing my cardboard box series. The two-inch deep panels were perfect for creating the illusion of a cardboard box. Painting the sides to look like cardboard and the narrative side ‘stamps’ are some of my favorite parts of those paintings.

I love the construction and consistency of the panels. They’re always well-made. I know I can rely on getting the same high-quality product every time. They have a wonderfully smooth finish, and the sides are well-crafted. As an artist, I have so many things I need to do to create my work — knowing I can just pull an Ampersand panel off my shelf and I’m ready to paint is a delight.

Artist Bio:

Natalie Featherston says, “What inspires me is the creative voice, whimsy, and humor Trompe l’oeil allows the artist to express. Unlike portraits or landscapes, still life doesn’t simply exist around us. You have to build the stage for the painting, selecting the colors and textures. The result draws the viewer in and connects with them meaningfully. This is why I’ve always found Trompe l’oeil to be a challenge, and I can’t imagine painting anything else.”

Ms. Featherston’s paintings have received numerous awards from some of the most distinguished art organizations in the country, including the Art Renewal Center, the Salmagundi Club, and the Beautiful Bizarre Art Prize. Her paintings have appeared in several publications: The Artist’s Magazine, American Art Collector, Southwest Art, Fine Art Connoisseur, CREATE Magazine, and Western Art & Architecture, to name a few. In 2021, Natalie was awarded “Best Trompe L’oeil” at the 15th Art Renewal Center Salon, the world’s largest and most prestigious art competition for representational art. Natalie is represented by art galleries in major cities across the country, and her paintings are sought after by notable collectors, including Danielle Steele, J.J. Abrams, Alex Kurtzman, and Alice Cooper. To see more of Natalie's work, visit her website, Instagram, Facebook, and TikTok.

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