A Vision in Color: Cerise Washington’s Solo Triumph in Central London

It is a rare gift to be a painter and feel such a spiritual connection that, with the lift of a brush, peace envelops you completely. These words resonate deeply with artist Cerise Washington, an oil painter whose creative journey is profoundly shaped by her rediscovery of British master J.M.W. Turner. With a style rooted in Turner’s Romantic landscapes and enriched by painterly abstraction, Washington’s work stands out through its vibrant use of colour, atmospheric light, and expressive impasto brushstrokes. Blending Impressionist influences with her amorphous style, she captures light and reflection in clouds and waves through her unique, multi-layered technique. 

Having spent years in prestigious creative roles across Dubai and Beirut, Washington’s artistic evolution blossomed in the Middle East, where she rekindled her passion for oil painting amidst vibrant cultural backdrops. Through personal challenges—losing her father, marital separation, and relocating to Beirut—painting became her source of solace and healing. Now, back in London, Washington’s work is celebrated for its depth and emotive power, with critical acclaim following her from international art fairs to private commissions for celebrities and design projects.

“At Peace with Paint” is such a beautiful title. Can you tell us more about what inspired this collection and how the theme of peace manifests in your work? 

Thank you. The inspiration for my collection comes from my emotional connection to the act of painting itself. As soon as I enter my studio, the scent of turpentine and oil fills me with excitement and anticipation. The sensory experience allows me to feel very spiritually connected, a sense of peace envelops me and I can get lost in my work for hours. When I’m painting, hours can pass without me even noticing, and it never feels like work, it’s pure joy. That feeling of being fully immersed in something I love is incredibly fulfilling. It’s a state where everything else fades away, and I’m just present with the art. It’s both calming and exhilarating, and that sense of flow is what makes the painting so rewarding. 

Stylistically, my work right now is inspired by the Romantic landscapes of J.M.W. Turner, whose ability to capture light and depth resonates with my approach through painterly abstraction. By building up layers of paint, blending colours and emphasising light and reflection, I aim to evoke a sense of tranquillity in my pieces. To be honest, in my work, peace manifests through the meditative process of creating.

How did rediscovering J.M.W. Turner’s works influence your painting approach, particularly in light, colour, and texture? 

I often start with a watery base of turpentine to achieve that same translucence, allowing layers to build and interact with each other. Turner’s palette—particularly his use of warm, earthy tones like burnt sienna—has greatly influenced my own. I love how he creates depth through light and colour, and I aim to evoke that same atmospheric quality. Through texture, whether it’s soft blends or thick impasto strokes, I try to convey mood and movement, much like Turner did. His approach has helped me push the boundaries between abstraction and representation, allowing light and texture to become central to my expression. 

Your journey has taken you from graphic design to oil painting, through personal trials and global adventures. How has this shaped your creative process and the themes in your work today? 

Vocationally my career led me to a degree in graphic design despite my prevalent aptitude for oil painting since the age of 14, I found myself in creative roles in Dubai and Beirut, working with well-known firms such as Ogilvy & Mather and Orbit Showtime Network as a Graphic Designer and Art Director. However, my life took a transformative turn, through marriage and motherhood and in that time, I rekindled my passion for painting. With its wealth of light, vibrant culture, euphoric atmosphere and lifestyle, these Middle Eastern countries reinvigorated my desire to return to my oils and turps. 

This golden period was followed with difficulty, contending with the sudden loss of my father to cancer, my marital separation, relocating to Beirut, living apart from my children for extended periods; painting became not only a source of solace but a means of healing, reflection and connection – and it still is. 

You’ve worked in Dubai and Beirut, which are known for their vibrant cultures and unique atmospheres. How have these experiences and environments contributed to your artistic vision?

Change followed with a new chapter; with my 2016 return to Wimbledon, London relocating from Dubai, and a contemporary art course at Christie’s Education, to develop my knowledge of contemporary art and Western European painting. In this third chapter of my life, I found J.M.W. Turner in a new light; “The Slave Ship ”, 1840 is a prime example of Turner’s finest work in the brilliant waves of light dancing brush strokes and composition. Of course, Turner was himself inspired by Claude and Rembrandt, and in my artistic vision I adopt many of these motifs into my monumental seascapes, hopefully masterfully communicating a historic feel due to the meticulous understanding and sensitivity of the Old Masters’ fixation with light. 

Your recent work incorporates not only painting but also fine art silk accessories. How does this new venture allow you to explore your creativity in different ways? 

My early equestrian paintings were exhibited at the World Trade Centre in Dubai, presenting my work to His Highness Sheikh Mohammed bin Rashid Al Maktoum; more recently, I exhibited at the likes of the Oxford International Art Fair and venues across London, such as Covent Garden and Wimbledon. Beyond exhibitions, I’ve collaborated with other designers to integrate my artwork into diverse environments, interiors and most recently a new venture into the world of fine art silk accessories bringing fresh intellectual challenges. I have more recently garnered commissions from a British film actress Charlotte Kirk, CEOs, and prominent interior design projects. My work is featured in private homes and offices in Dubai, Paris, America and London. 

You’ve had notable collaborations with interior designers, creating bespoke pieces for high-end spaces like Covent Garden. How do these collaborations challenge and enrich your artistic practice? 

Collaborating with interior designers, especially for prestigious spaces like Covent Garden, challenges me to thoughtfully integrate my work with the design elements of the environment. The fabric textures, wall colours, and upholstery tones all play a crucial role in shaping how I approach a piece. I consider how the hues of the artwork can complement or contrast with the surrounding colours, ensuring that the painting doesn’t just occupy the space but enhances it. For instance, if a room features rich, deep tones in the upholstery or a soft, muted palette on the walls, I adjust my colour choices and brushwork to either harmonise with those elements or create a striking focal point. This requires a careful balance of colour theory and composition. Ultimately, these collaborations push me to not only think about the emotional and aesthetic impact of my paintings but also how they live within and elevate the entire space. The artwork and the interior create a dynamic, cohesive atmosphere that enhances the overall experience of the room. 

With your artwork featured in prestigious locations and private collections globally, what does it mean to you to now be exhibiting in Central London for your first solo show? 

To have a solo show in central London is one of the most rewarding experiences an artist can have for their career. I had a wonderful turnout with a curated guest list and to have my work exhibited alongside the works of Andy Warhol was such an honour. I am so grateful to the team that helped put the exhibition together, and especially to Pandora Mather Lees who presented my work and gave a speech about my oeuvre. 

To have my first solo show with my name on my advertisement has always been a dream of mine and it came true. I was also so nervous to give a speech but after a few seconds my confidence seemed to flow and I was so happy to speak in front of my guests that came to see my art. 

I learnt that having a chance to do a series of images teaches you a lot about your methods and motivations, far more than you would learn from painting one picture at a time. It gives you a chance to push your creative methods and compare what works and what doesn’t. Commissions are not the place for experimenting, generally, so this felt very freeing. 

I also learnt that I need to get started on my next series of paintings, so the next step is lots of brainstorming to work out my next collection. I have just come back from the Monaco Yacht Show for networking and business, and I would like to have a series of Impressionist paintings of the South of France maybe, as this is where I spent a lot of my childhood with my parents. 

Can you share more about the emotions and experiences behind your transition back to London in 2016, and how this period of your life brought you closer to the works of Turner and the Old Masters?

Returning to the UK was met with mixed emotions, sad to leave my friends in the Middle East but also happy to be near my family. I had spent 20 years in the Gulf and built a life there with my ex-husband and my children. It was safe, and my daughters were happy there but life moved on for us all and it was a time to move on and experience London. Moving from such a safe country to living in London was a massive culture shock for my children and I, and I was alone raising them. It was tough, especially for my eldest daughter but it made us stronger to succeed in our careers. They certainly can stand on their own now, and they are fiercely independent and motivated to succeed in life. My eldest daughter now wants to return to Dubai for work when she graduates from University, and my youngest wants to live and work in Italy. 

I suppose spending so much time alone when I first arrived, I would take myself off to local galleries and spend hours at the Tate Museum where it’s home to the largest collection of works by Turner. I would sit and dream gazing at the Old Masters and marvel at their use of light and marvellous detailed brushwork. This eventually took me to look at courses at Sotheby’s and Christie’s and then ultimately I decided to learn about the Masters in a Diploma course at Christie’s and my love came through this. 

Your work has gained recognition from celebrities and influential clients. How do these relationships impact your artistic growth and the direction of your future projects?

I have been extremely fortunate and have been in the right place at the right time or have spoken to the right person who knows someone of influence, who then sees my work and likes it enough to want me to produce something for them. 

It’s flattering when interest is shown in your work by others who are of popular renown and course, we see it as affirming. I guess it gives me confidence and belief that I am heading in the right direction, but I have to remind myself that I have to listen to my inner voice and create from my heart and mind and not from any inflated sense of accreditation.

What can we expect from you shortly, both in terms of your painting and your expanding silk accessory line, especially with the upcoming outlet at Westfield for Christmas? 

Future aspirations include further integrating my art into product designs, exploring other creative avenues and finding an “Artist In Residence” programme, maybe back in the Middle East. We are currently in negotiations to showcase my silk scarf designs at White City, Westfields in London and if this proves popular then the natural development of this would be into other lines of fashion and clothing. I have several contacts in the fashion world with whom I would love to collaborate but of course, my first and main love will always be painting and producing artwork.