|1992-93||MA (European Fine Art) - Winchester School of Art in Barcelona.|
|1989-92||Printmaking at Grafikskolan Forum, Sweden under Bertil Lundberg.|
|1982-85||BA (hons) Painting & Drawing - Edinburgh College of Art.|
|1981-82||West Surrey College of Art and Design (Distinction).|
Malmö Allmänna Sjukhus - Mural and Relief installed 1988 at Malmo General Hospital.
Petro Canada, London.
Bohuslän Art Museum, Sweden.
Fjarhitin Consulting Engineers, Reykjavik, Iceland.
Malmo General Hospital, Sweden.
Also in private collections in Sweden, Iceland, Norway, Germany, Britain, Israel and America.
Surrey Heath Council Arts Bursary.
Surrey Young Artist of the Year.
Arborealists - founded by Curator Tim Craven, Southampton Art Museum - 2014.
Bath Society of Artists - elected in 2002.
Delfina Studio Trust, Bermondsey, London - elected by portfolio in 1994.
The Block Printmakers, London - elected 1994.
Malmö Kollectiv Verkstad - elected 1989.
Läderfabriken Konstkollectiv, Malmö - elected 1987.
PUBLIC TALKS ON MALCOLM DRUMMOND & CAMDEN TOWN GROUP
Southampton Museum and Art Gallery - during The London Group exhibition 2014.
Bath Society of Artists.
The Montpellier Gallery, Cheltenham.
The Quest Gallery, Bath.
IN CONVERSATION WITH THE ARTIST
RWA - Arborealists in conversation - Arboreal: Art of Trees exhibition 2014 - 2015.
Lymington Art Museum - Under the Greenwood exhibition 2014.
ART TALKS AND WORKSHOPS
Cotswold Art Club.
Cirencester Art Society.
Cardiff Society of Artists.
Central School of Speech and Drama, London.
Westminster School of Adult Education.
Wetpaint Gallery, Cirencester - life classes.
New Brewery Arts, Cirencester.
Central School of Speech and Drama, London.
South Thames College of Art and Design.
Westminster School of Adult Education.
Medborgar Skolan, Lund, Sweden.
Under the Greenwood: Picturing British Trees From Constable to Kurt Jackson. Written by Ann Anderson and Ian Massey, published by Sansom and Company.
New British Art by Jacob Sutton.
A History of the Bath Society of Artists by Peter Davies, St Ives Publishing.
Wilts and Gloucestershire Standard - 16th June 2015
Cotswold Life - 9th Feb 2015 - 'Creative Cirencester'.
Plant Curator online magazine: www.plantcurator.com - 18th Jan 2015
Telegraph - 2015. Review by Florence Waters 'Arboreal: Art of Trees and other artists at RWA'.
Cheltenham Radio - 2013. Interview with Fiona McIntyre at the launch of solo exhibition 'Painting the Land and Sea' at The Montpellier Gallery.
Gloucestershire Echo - 2007. 'Artist's take inspiration from land'.
Somerset Life - 2004. Arts and Antiques.
Bath Chronicle - 2003. Bath Society of Artists at the Hotbath Gallery as part of Bath Art Festival.
Somerset Life - 2003. A day in the life - Fiona's Passion for Art.
Bath Chronicle - 2002. Life and Soul - City Launches itself onto the Catwalk.
Bath Chronicle - 2002. Art Attack.
Bath Chronicle - 2002. Life and Soul - Inspired by Sense of Place.
The Bath Chronicle - 2002. Make quality design an absolute priority.
Swedish National Radio - 1989. Art performance 'From the Corners of my Eye' by Bengt Adlers.
Sydsvenskan 1988. Kvinnan och Ensamheten - exhibition at Lund University, Sweden.
Sydsvenska Dagbladet 1988. Om Bilden i Sig - exhibition at Lund University, Sweden.
Fiona Mary Elspeth McIntyre - born 1963 in Kenya.
Fiona M. E. McIntyre was brought up in Dublin in the late 60's in a musical and artistic family, her great grandfather was the Camden Town Group painter Malcolm Drummond www.tate.org.uk/art/research-publications/camden-town-group and her great grandmother was the book illustrator and concert pianist (Alexina) Zina Ogilvie (Johnsons General History of the Pirates). Both Fiona's parents were also very artistic; her mother Dilys McIntyre being a botanical artist and textile designer and her father Archie McIntyre a celebrated piper and composer so Fiona was brought up in a creatively encouraging environment. After training at Edinburgh College of Art Fiona moved to Sweden where she lived with her Icelandic first husband Dr. Bjorn Karlsson. It was Bjӧrn who introduced her to Icelandic Abstractionist Svavar Gudnason who was to have an influence on her development as a painter. After learning to speak Swedish and a smattering of Icelandic Fiona joined the much publicised Lӓderfabriken art studios in Malmӧ which was the first fine art collective of it's kind in Skåne. While at the Lӓderfabriken studios Fiona won a regional competition to make public art for Malmӧ General Hospital. She exhibited regularly in Sweden and Norway including taking part in art performances at Museums in Lund and Malmӧ. In 1988 Fiona was one of only four students to be accepted into the innovative printworkshop of Surrealist Bertil Lundberg (who had worked at the famous Atelier 17 under Stanley William Hayter in the 1930's). Lundberg was impressed with Fiona's drawing skills and guided her in developing a surrealist/expressionist series of paintings and prints inspired by her Scandinavian environment. Fiona went on to develop a more experimental style of printmaking at studios in Barcelona where she improvised with new materials to develop a powerful and personal language around the human body as self expression. While living in Barcelona Fiona worked as assistant to Master Printmaker Masafumi Yamamoto where she editioned etchings using a variety of Catalan and Japanese printmaking techniques including the 'viscosity technique'. In 1993 Fiona moved to London where she taught and lectured at several schools including Post Graduate Painting at Central School of Speech & Drama. Later moving to Exeter and then Bath Fiona continued to develop her painting and prints at Widcombe Studios (now Bath Artists Studios) and Spike Island, Bristol. In 2004 Fiona met and married Stephen Maynard and in 2005 their daughter Zina was born. Fiona's studio has been based in Gloucestershire from where she is developing painting by exploring different landscapes as far afield as the West Coast of Scotland and Cornwall. She names her main influences as being amongst the Scottish Colourists, Svavar Gudnason (Danish Cobra Group), Tom Thomson (Canadian Group of Seven) and British painters between 1900 and 1940.
STATEMENT BY THE ARTIST
"I have been painting and drawing professionally for the last 28 years since leaving Edinburgh College of Art. There I was fortunate enough to come under the tutelage of John Houston and Elizabeth Blackadder. The Scots have always taught painting in a very different way from the English - focusing less on the analytical and more on the painterly and intuitive which is never-the-less grounded in years of keen observational drawing practice. Perhaps this has been the corner stone of my work along with an initial year at an English Art School under the exceptional guidance of Karn Holly who instilled in me the absolute importance of good draughtsmanship. Scottish intuitiveness and Scandinavian introspection has ultimately made my work what it is today.
I returned again to painting British landscape after several years of living in Scandinavia where the long, dark winter days and introspection made it impossible for me to remain living there with any sanity! Being back on my own landmass has been a total revelation to me in many ways. Being a passionate Celt at heart I find the extreme diversity and lushness of our landscape inspiring and uplifting and the ever changing skys have made me understand Turner's fascination and love for it. There is also an historical aspect to our ancient landscape that is extraordinary and the idea of ancestral heritage is something that resonantes very deeply with me because it is about a sense of belonging. I find that total immersion in the landscape is crucial to the integrity of my work because I am able to observe and experience the impermanence of nature first hand spending many hours sitting in a Cotswold wood or in a field sketching and drawing. During this process the sky can change dramatically which in turn effects the light and shadows. The Zen masters observed that once one has meditated on a landscape for several hours it starts to take on a different reality, all the descriptions and illusions of one's mind seem to dissolve until trees cease being trees and mountains cease being mountains. This experience of nature is important to me but back in the studio my work evolves in a new direction, the paintings become about the simplification of shape and form, a distillation of my perception of reality. Keeping a direct, fresh, painterly quality is really important to me and something that I am constantly trying to perfect so that the flow of intention is evident in the brush marks.
William Turner summed it up for me when he said that 'painting is not about what you see but how you see it."
Fiona M.E. McIntyre