Shaun McDowell is a British painter and curator working in the Sabine Hills area of the Lazio region, near the city of Rome. Some years ago he decided to move from London and discover new opportunities in Italy.
A Financial Times article in 2012 noted the influence of Jean-Honoré Fragonard on his work and called McDowell “the most exciting abstract painter of his generation”, while a 2013 Prospect Magazine article titled ‘British Painting is Back’ speaks about the physical, visceral quality of his work and a resurgence in British painting. His practice is a balance of influences between history of art, traditions and innovation of the language of painting.
In this article, curator Camilla Boemio engages in a captivating conversation with Shaun McDowell about his artistic practice; shares insights into his artistic process and the inspiration.
Image on the left:
A Table Before Me, 2025
Oil on wood panel
39 x 27.5 cm (framed)
after Cézanne Nature Morte aux Oignons 1896-1898
Camilla Boemio: What is it like living in the countryside near Rome? Is It gorgeous for your artistic experimentation and inspiration? Why was this not the right moment for you to live n London?
Shaun McDowell: Living in the Sabina Hills area is a privilege. I paint medium and large paintings in the hills there and at the weekends spend time making smaller paintings on a rooftop in Rome. London is an exciting city to visit but in my opinion it doesn’t support a wider range of artists anymore, so I drop in and enjoy the city before returning to the colour of Italy. Italy is a country naturally saturated with colour, but also it can be said that Italians themselves are not afraid of colour and the houses in Lazio region are often bright oranges, pinks and greens.
C.B.: Italians of course have a great love of history and tradition; what can Rome give to an international artist?
S.MD.: On the most essential level, Rome is a city still providing the possibility for an artist to occupy and work within. Many cities have out priced artists but there’s plenty of space in Rome and it’s *relatively affordable. Inspiration-wise I’m very happy to call Rome my city. Rome is to be experienced at pace rather than somewhere you are pressed between as you try to see everything. Simply enjoying the streets is rewarding without the usual tourist traps, although I do love visiting places like Villa Borghese. You can occasionally find parks or gardens that seem practically abandoned, I appreciate that in a bustling city.
Image on the left:
Le Fruit du Père, 2025
Oil on wood panel, artist made white gold gilded frame
23 x 17 cm (framed)
*after Paul Cézanne – Nature Morte à la draperie 1892-1894
23 x 17 cm (framed)
C.B.: What is the most satisfying part of painting for you?
S.MD.: Learning. Each painting should be considered as developing language – we should be progressive but not necessarily comfortable in trying to say something new. When I work on a show there is usually a spectrum of different works, each contributing its own dialogue rather than an iteration. I get satisfaction if I can stand back and say that I heard something new and that my repertoire is richer.
C.B.: What are the artistic influences recurring throughout your work?
S.MD.: I have a many influences but it comes down to nature and freedom. It was Poussin who brought me to Italy but as time goes on I appreciate the plein air artists of 18th and 19th century more and more. Pierre-Henri de Valenciennes, and Corot made some beautiful oil sketches of the campagna romana (the Roman countryside). Both artists were influential in their own ways for the Impressionists and Post Impressionists, Corot’s painting of the Cascata delle Marmore (Marmore waterfalls) is intriguing for me in this respect. Recently I have been working on some transcriptions of Cézanne, Monet and Pissarro which is an unusual thing for me to do.
C.B.: What about British abstraction, and artists living and working outside England?
S.MD.: Well, it could be argued abstraction isn’t as appreciated in the UK as much as the US or even Italy, historically. Perhaps the UK landscape itself is bucolic rather than dynamic and so a grand tour might be in order for anyone UK based and who seeks to create something dynamic or baroque in temperament. Howard Hodgkin spent time painting in India, which is understandable considering his palette.
First Image: Sur le Motif l, 2025
Oil on wood panel
23 x 17 cm
Middle image: Stars and Painted Verse, 2025
Oil on wood panel (framed)
16.5 x 13 cm
Third image: Camellia, 2025
Oil on wood panel
23 x 17 cm (framed)
C.B.: What is it like working in outdoor spaces? The way light influences the colors can change a lot.
S.MD.: Italy is a very dynamic landscape, it fulfills that sense of “liberty” an artist can experience painting outdoors. The light here is wonderful and considering the temperature I can be very productive painting outside much of the year round, something limited in Northern Europe. I like to combine indoor and outdoor painting and recently I’ve been using the back of my pickup as a studio. I have a box that can take a few medium sized works safely and I can park up anywhere, spending hours enjoying the sight and sound of nature. Vacone, where Bernini used to spend time walking, is a special place for me and it’s very inspiring to be looking into the woods or across the Sabina hills from that high position.
Camilla Boemio is an internationally published author, curator, and member of the AICA (International Arts Critics), IKT (International) and part of board of Cycladic Arts (Greece) and AAC Platform, based in Rome. She conducts theoretical and practical research on co-creation, social engaged art practices and connections between art and science, heritage/history of art and contemporary art.
Boemio’s recent curatorial exhibition include, TEN YEARS: BSR People 14 – 24 at The British School at Rome, a solo show by Antonio Palmieri, who over the course of ten years working at BSR has photographed the people who have passed through the academy, from fellows to staff, inventing characters
and telling stories (2024). In 2021; she edited the book The Edge of Equilibrium published by Vanilla Edizioni. The Edge of Equilibrium weaves a dialogue of many voices, rather than making a fixed statement, and offers a wide picture of art communities, alternative land-based, low-impact ways of living,
which address issues and dilemmas relevant for an epochal renovation. The book was presented at Artissima, Roma Arte In Nuvola 2021 and Art Verona 16. The book is part of the collection Getty Museum’s library.
