In The Studio With Johnty Robinson: Behind The Scenes of his Debut Solo

On an unseasonably warm autumn day in October, I had the pleasure of visiting Johnty in his home studio ahead of his debut solo show, Noticing.

Johnty had previously ‘warned’ me that I shouldn’t have high expectations of his studio, as it wasn’t anything much, I disagree. It was a truly beautiful space. As a gallerist, getting to see inside an admired artist’s studio is always a joy, and Johnty’s was no exception. An impressive set-up, with a beautiful palette perfectly positioned and finished oil paintings drying from floor to ceiling. It was exciting to have a little sneak peek ahead of the show.

Johnty’s journey to becoming an artist feels both natural and carefully learned. He began his studies at London Fine Art Studios Atelier, where he was fortunate to receive two scholarships from the De Laszlo Foundation. More recently, in 2025, he received the Winsor & Newton Young Artist Award at the Royal Institute of Oil Painters (ROI) Annual Exhibition.

An impressive start to his career, Johnty’s move from London to Falmouth marked a new chapter in his practice. His work was warmly received when he first approached the gallery, and over the 18 months we have represented him, his paintings have continued to generate anticipation and excitement among collectors. There is something particularly compelling about his approach to painting; a considered attention to colour, light and composition, paired with an ability to find beauty in the familiar.

I was very intrigued to chat with Johnty ahead of this show, to understand his inspirations, influence and intentions.

Johnty explains that he finds inspiration in his surroundings and the familiarity of everyday life, the joy of the changing seasons, seasonal fruit, and blooms in his garden. I find this approach charming. Still-life, as an art practice, invites us to slow down, depicting common scenes and the everyday. The term comes from the Dutch word stilleven, meaning 'quiet life', which feels particularly fitting to Johnty’s approach. His paintings are quiet, intuitive and personal. While he also explores other subject matter, each work offers that same subtlety of known moments, like a familiar landscape that evokes a shared understanding or sense of nostalgia.

He offers an unfiltered and personal response to his motivations. In shaping Noticing, he aims to find happiness in slowing down and enjoying the little things in life. Inevitably, there are also deeper, more personal layers to his work, shaped by his own experiences and the things he notices along the way.

The considered placement of figures, buildings and businesses invites the viewer to see the world through the eyes of an artist. There is an almost effortless sense of storytelling in these scenes, capturing the small details and passing moments that can often be ignored. This is particularly evident in his new exhibition, Noticing.

Johnty is greatly inspired by Bath-based artist Peter Brown, an en plein air painter whose work captures the intricacies of everyday life, with a particular sensitivity to light, weather and atmosphere. Brown’s ability to find beauty in the ordinary, translating the changing conditions of the world around him onto canvas, offers an interesting point of reference for Johnty’s own practice.

It is interesting to consider where an artist’s inspirations come from, and how these influences might offer a little more context to their own work. Artistically, Johnty is drawn to the atmosphere and sensitivity of the Impressionists, whose approach to light, colour and the fleeting moments of everyday life feels closely aligned with his own.

Johnty has always worked in oil, drawn to its slow drying time, which allows him to blend and work gradually. The medium lends his paintings a depth of colour and a softness of light. I was interested in the technicalities of Johnty’s work and process. His meticulous approach is evident in the considered outcomes of his paintings, driven by a genuine fascination with the craft of oil painting and a desire to continually learn, experiment and refine his practice.

His studio is carefully arranged, with his easel positioned alongside his palette. A tripod, set up facing his work, records a time-lapse of his latest landscape for Instagram. To one side sits a colour reference chart, impressively created by Johnty himself, mapping each colour to ensure accuracy and consistency in his work. Drawn to colour, he continues to experiment with complementary tones and evolving palettes. Among his varied palette, raw umber is the one colour he couldn’t live without.

Once inspiration strikes, his approach to painting is surprisingly structured. He treats painting as a daily practice, beginning at 9am and finishing at 5pm, with a routine that allows him to work consistently and with focus.

After a palette has been mixed, Johnty often works on several paintings exploring a shared subject or theme. This way of working allows him to explore variations in colour, composition and light, building a collection of works that speak to one another while retaining their own individual character. It was a reminder that translating observations onto canvas requires patience, discipline and a genuine commitment to the craft.

Johnty speaks about his desire to continue developing his practice, learning from the process and finding ways to approach familiar subjects. There is a sense that his ambitions are rooted as much in the act of painting itself as in the finished work. He is curious about what can be achieved through continued observation and experimentation.

Spending time with Johnty and learning more about his practice has offered a greater understanding of the thought and intention behind his paintings. What might initially appear as ordinary, reveals itself to be more considered; the placement of a figure, the shift in light across a building, or the relationship between colours. 

In this way, Noticing feels like an invitation as much as an exhibition. An invitation to pause, to observe and to find joy in the familiar. 

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By Gabrielle Gillow
Senior Gallerist