An analytical left brained change-manager and a right brained 2D creative!

An interview with Martyn Dymott by Debs Harrison

1. What were your first memories of making art?

My first painting with a purpose was of a badger for a local school (its school emblem) in the village my family lived in and they wanted to keep it. So, from 14 to 16 years old I was painting in oils and then leaving school at 16 I had an interview with the Bristol Art College. An unsuccessful meeting and they told me to return when I was 17 with more work. When I returned home there was a job advert on the table and I was told I should get a proper job.

Finding Art (2026)- Ignoring all urges to paint a motif and to let the viewer find something 

2. What were your previous professional roles?

I spent 30 years working for the Post Office and I began in PO Counters, then in various administrative roles and, when the Post Office Group split into different businesses, I opted for Royal Mail. I stayed with them working in various UK locations, until my last role as the Production Control Manager in Birmingham.  I took voluntary redundancy due to ill health and returned to painting.

During the following 11 years I worked as a project manager for the Gloucestershire Constabulary, Worcestershire County Council and finally the Blue Cross, the animal welfare and rehoming charity.

3. Who and what inspired your digital art practice?

I found myself working in acrylics, painting the same sort of landscapes and portraits as that of my peers. After a few years I realised that I did not really have my own style and every new painting became a chore. The only exception was portraits for NHS heroes (During COVID) and I produced 5 portraits in less than 4 weeks, all of which were accepted by the subjects or their sponsors. 

I had seen David Hockney's early iPhone, and then iPad, digital paintings. He was a hero of mine for his colour work and continuous innovation, so I decided to try this.

Using a Samsung tablet and a cheap painting app (Infinite Painter) I took 18 months to learn what everything did and decided what I didn’t want to use.

I now focus on using painting tools and brushes that can be found in any real studio, so in my digital studio I mostly use oils, watercolours, sponges, air brushes and my favourite, a clay roller.

Sunrises Make Me Sing (2026)- The landscape is suddenly bathed in light; rising heat carries the early mists away.

4. When and why did you make art your primary focus?

Art became my primary focus eight years ago when I ended employment. Leading up to that I was involved outside of work with various art groups including Cheltenham Art in the Park and their organising committee.

5. How would you describe your art practice and what aspects drive its evolution?

My focus nowadays is on the limitless opportunities provided by painting digitally and how that allows me to be creative anytime and anywhere.  As I learned how to use the software and tools, my work has become more abstracted but at most times the viewer will spot a motif in my work. I enjoy layering the colours using different digital techniques. A painting can completely change simply by changing the colour, a layer or by changing the opacity of the paint.

Greenscape (2026)- Imagine if you could see the history of the landscape 

6. What has it been like in your three years of being chair of Gloucester Contemporary Artists?

Like many exhibiting artists in Gloucestershire, I spent my time and money sharing space in very costly galleries in and around Cheltenham, whilst my home city had no gallery I could show my art in.

Finding a handful of other artists who felt the same about the lack of art space and visible art in Gloucester was a relief. Since that first meeting and our early decisions, it's been a pleasure (most days) to be part of our journey. Highlights for me have included the GCA starting The Gate art space, the GCA CIC growing to a membership of 50 and I have also learned a lot about the local politics of art and culture in Gloucester. 

Whatever my role I am happy to help with some process improvements, ensuring we find members who can share the workload and making sure we secure The Gate art space for the foreseeable future or securing support from the City Council for an alternative option.

Martyn is exhibiting with Luba Arnold Larnie at the Gate, 21 Westgate Street from Tuesday 7 to Sunday 12 July. Their show is called Synthesis of Art.