Ellis King - Artist Series
In the first of my new artist interview series, we meet Ellis King, a talented UK-based artist from Norwich.
Ellis is a contemporary, self-taught artist whose work predominantly features female portraiture. Through her paintings, she highlights the experiences and stories of women, bringing their voices to the forefront. After the birth of her son, Ellis returned to art as a form of personal expression and empowerment. She views her work as both a rebellion and a protest – challenging societal expectations placed on women like herself. Her art explores the struggles and challenges she has faced, offering a vivid and almost abstract commentary on her journey.
Unapologetically political, Ellis uses her platform to amplify women’s voices, creating space for them to be seen and heard. Through her bold and honest approach, her work resonates as a powerful testament to shared experiences and resilience.
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Q&A with Ellis
Q). For someone who doesn’t know you, how do you describe your art?
My work is contemporary figurative portraiture with a strong narrative focus on women’s experiences. I use a combination of realism and abstraction to explore themes of identity, vulnerability, resilience, and societal expectations. My paintings aim to amplify women's voices and create a sense of shared experience and solidarity. Through abstraction—whether it's bold blocks of color, textured layers of paint, or expressive mark-making—I invite viewers to place themselves in the pieces and bring their own interpretations to the story.
Q). Tell us about your journey as an artist
I have created for as long as I can remember. I loved art at school but didn’t pursue it in further education because I was "bright," and in my generation, bright girls were encouraged to go to university. So, I studied English and made things on the side until art found me again after the birth of my son. He was born very premature after a complicated pregnancy, and I struggled to find a job that offered the flexibility I needed to support him. This period forced me to reflect on the roles and expectations placed on women, and art became a form of protest and self-expression—a way to process my experiences and shed light on the stories of other women. What started as a deeply personal outlet evolved into a larger mission: to create work that resonates with others, sparks conversations, and fosters a sense of community among women.
Q). Do you feel that being a self-taught artist has posed challenges for you, or has it offered unique advantages?
There are definitely challenges to being self-taught, especially when it comes to navigating the art world without formal connections or structured training. I think I probably make silly mistakes, and imagine things take me longer than they might if I'd been taught and knew the most efficient way to do something. But I also see it as a strength. It has allowed me to develop a completely authentic approach, free from the constraints of traditional artistic conventions. My work is driven by intuition and lived experience rather than a set curriculum, which I think gives it a rawness and emotional depth that resonates with people.
Q). Do you think where you live influences your art?
I live in Norwich, which is a beautiful, historic city with a strong creative community. While my work is more influenced by the experiences of women than my physical surroundings, I do think the sense of space and introspection that Norwich offers has allowed me to explore my ideas more deeply. Also, working in a shared studio has been such a great inspiration. That said, my paintings are rooted in universal themes—stories that could belong to women anywhere in the world.
Q). Where does your inspiration come from?
My inspiration comes from personal experiences, conversations with other women, and a deep curiosity about how gender shapes our lives. It often stems from broader influences on women’s experiences, such as the news or politics. Sometimes, a single phrase, a fleeting emotion, or a powerful interaction sparks a new idea for a piece. I also draw inspiration from literature, feminist discourse, and other artists who push boundaries with their work. I think so much about being an artist is being in awe of what others do, and using that as fuel to the fire.
Q). As an artist, do you ever feel envy or admiration when encountering exceptional work by others?
I think all artists experience moments of comparison, but I try to channel that energy into admiration and learning rather than envy. Seeing incredible work inspires me to push my own boundaries and reminds me of the endless possibilities within art. I also love that there's a real community amongst artists where we support and uplift each other—we all have unique voices and perspectives to bring to the table and that's celebrated.
We are all prone to comparison, especially in a world that's now so online, and unfortunately I'm not exempt from that but I think I feel that more on a practical level. When things aren’t going the way you want financially or creatively, it can be hard not to notice the success of others. In those moments, I try to step back and focus on my own journey—everyone’s path is different, and I trust that my work will connect with the right people at the right time. I also get so much inspiration from other artists. Art has always evolved through influence—when I see something I love, I often think about how I might incorporate a similar energy or idea into my own work in a way that feels true to me. Most of the time, that admiration sparks something new rather than feeling like competition.
Q). Talk us through the process of how you start a new piece?
There are a couple of different ways I might start a piece. The first is with a concept I want to explore—often an idea, a phrase, an emotion, or even just the title of a piece that resonates with me. I might sketch initial thoughts, take reference photographs (sometimes using myself, sometimes working with others willing to share their stories), and then digitally experiment with composition.
The second approach is more organic. I invite women to sit for me, and during that time, I listen to their stories and see where we connect on that particular day. That meeting and the interaction with the sitter then inform how the piece begins.
Once I have a clear direction, I sketch some ideas before moving on to the actual piece, using the reference photos to draw out the final concept (usually on canvas) before adding paint.
My process is fluid and often evolves in ways I hadn’t originally anticipated, but that’s all part of the journey for me.
Q). Your portraits are mostly focused on women? Why is that?
Because I am a woman. My journey to this point would not have been the same had I not been a woman. Being a woman profoundly shapes my perspective and experience in the world—whether it’s the challenges of fertility, the process of IVF, or the experience of giving birth, or even facing sexual abuse.
I believe that women's stories are still underrepresented, misinterpreted, or dismissed in many spaces. Painting women is both a personal and political act for me—it’s about representation, visibility, and creating work that speaks to our lived experiences. My goal is to create a space where women feel seen, where they can recognise themselves in the work, and understand that they are not alone in their experiences.
The art world, like so many others, is heavily skewed in favour of men, both in terms of their success and representation. This often leads to figurative work of women being portrayed through the male gaze. My work aims to challenge that, presenting women’s experiences and stories from our own perspective.
Q). What medium do you use?
I primarily work in oils and acrylics, often layering them to achieve depth and texture. I sometimes use oil sticks to add expressive marks and details. I love the fluidity of acrylics combined with the richness of oils, and I use different techniques to create movement, contrast, and a tactile quality in my paintings.
Q). What do you think your signature style is? i.e. subject matter, painting technique, etc?
My signature style is a blend of realism and abstraction. The realism in my portraiture anchors the work in personal identity, while the abstraction introduces an emotional, interpretative layer that invites the viewer to connect with the story on their own terms. My use of bold textures and expressive marks adds a physicality to the work, making the emotions within the piece feel more tangible.
Q). What is happening this year? What can your fans expect?
This year is shaping up to be really exciting! There’s something big I’m working on that I can’t quite share yet—it's both thrilling and a little nerve-wracking, but I’m putting everything I’ve got into it, and it’s going to be an amazing experience.
I’ll be spending the summer focused on creating a new collection for the Manchester Art Fair in November, with the hope of connecting with new galleries. I’m also planning my very first open studio this summer, which I’m really excited about—it’ll be a chance for people to step into my world and see my process firsthand
I’m also looking at offering more work in different formats, like works on paper, and building on the smaller paintings I introduced last year to make original art more accessible for everyone.
I’d love to collaborate with other artists too, so if anyone’s interested, let’s connect! Ultimately, I just want this year to be all about creative growth and deepening connections, with the goal of making work that truly resonates, challenges, and inspires.
For more information about Ellis.
Check out ellisking.co.uk
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Also "Love and Sacrifice" by Ellis King, available from our online gallery.