Your artwork beautifully bridges realism and fantasy. Could you share how these styles and mediums define your work and tell us about the journey that led you to pursue a career as a professional artist?
I love combining realism with a touch of fantasy. My focus is always on the details—creating pieces where the more you look, the more you discover. I primarily work with graphite pencils, ink, and gild paints, but I’m excited to explore more painting in the future.
Becoming a full-time artist has been a dream of mine since my A-levels in college, but for a long time, I lacked the confidence to believe I could actually do it. My journey has definitely been bumpy. It started when I created an Instagram account and began sharing my art. A few pieces went viral, and I started receiving commission requests from all over the world. I even designed a tattoo for a professional BMXer who competed in the Rio and Tokyo Olympics!
Despite this, my art took a backseat when I went to university to study fashion design and later worked in retail. Over the years, I kept telling myself I couldn’t make it as an artist, finding every excuse to hold myself back. But last year, something changed. I realised I didn’t want to live in a state of "what if" anymore. I finally took the leap, left my teaching job, and committed to being a full-time artist. It’s been the most challenging yet rewarding decision I’ve ever made.
What does a typical day in your studio look like, and how does your workspace influence your creative process?
I’m not much of a morning person, so I like to take some quiet time for myself before heading to the studio around 10 a.m. My day usually starts with checking emails, social media, and my to-do list. From there, it varies—I might be packing orders, filming content, taking photos, planning new drawings, or diving into the actual creative work. No two days are ever the same.
Whenever I start a new piece, I need to completely clean my workspace. For me, having a blank, organised space mirrors the fresh start of a blank sheet of paper. As I work, I love seeing how my workspace evolves alongside the piece I’m creating. By the end, it’s definitely not ‘aesthetically pleasing’—there are materials and tools everywhere—but I think that reflects the energy and chaos of the creative process.
What are some of your biggest sources of inspiration, from personal experiences to art history, and how do these influences shape your work?
My Grandad is one of my biggest inspirations. He’s an oil painter, and whenever I visited him as a child, I couldn’t wait to see his workroom. I loved looking at his hundreds of paintbrushes and the paint mixed on his palette. He’d share the stories behind his paintings, and I found it such a beautiful way to express feelings and meanings—especially since I’ve never been great with words. Growing up far from my grandparents and my dad, I turned to art as a way to feel close to them.
Our styles are very different, though. I often describe him as the sun and myself as the moon. Unfortunately, a traumatic experience when I was 12 left a lasting impact. As the eldest of nine, I felt the need to protect and care for everyone else, which meant I kept my own feelings to myself. My family has faced some deeply painful events, ones that will always stay with us, so art became my outlet, alongside reading fantasy. Escaping into other worlds helped me cope, and that influence is woven into my work. These experiences have inspired me to seek out beauty, even in the darkest moments—reminding us that, after all, you can’t see the stars without the night.
Could you take us behind the scenes of the pieces you've shared with us—what inspired them, how they came to life, and what makes them especially meaningful to you?
I’ve always been drawn to fantasy, magic, and mythology—worlds that feel larger than life. Greek mythology, in particular, fascinates me, and it inspired my Medusa series. When working on Medusa I, I found myself reflecting on how her story, though a myth, mirrors the realities lived by so many people, myself included.
Medusa is often portrayed as a villain or a monster, but her story is one of injustice. Her life was shattered through no fault of her own, and she chose to defend herself. People cry, “She turns them to stone!”—but those who suffered her wrath were the ones who sought to exploit or harm her. Her narrative raises powerful questions: How many people in our world have been vilified due to fear, misinformation, or manipulation? How often is someone cast as the villain so that the true perpetrators can remain hidden? To me, Medusa represents resilience, strength, and a refusal to be a victim. She’s a symbol of standing tall against injustice and reminds us we’re not alone in our struggles. I’ve created three versions of Medusa so far, and I’m not done yet—there are more stories I want to tell before I close this chapter.
Another piece, my Death Tarot card, is part of my Major Arcana Tarot Card series. Tarot readings can provide hope and clarity during uncertain times, and I find the Death card especially meaningful. While it’s a card that many fear, it actually symbolises transformation—the end of a chapter and the beginning of something new. It’s not about the end of life, but about renewal. This series stands apart from my usual graphite pencil work, as it’s done in marker pens to allow for vibrant individuality. Each card tells its own story, and the colours bring that uniqueness to life in a way that shades of grey couldn’t.
Lastly, my piece Before It’s Too Late was inspired by a deeply personal loss. Last year, a dear friend of mine took their own life. When I think about death, I often picture a full life ending peacefully in old age, but this was a stark reminder of how fragile life really is. At her funeral, the love surrounding her was palpable, but it was the flowers that struck me the most. I couldn’t help but wonder—how many flowers had she been given while she was still alive? Could a small act of kindness, like receiving flowers, have made a difference? This piece isn’t about death itself but serves as a reminder to cherish life and express our love while we can, even through small gestures. Life is fleeting, and Before It’s Too Late encourages us to live fully and show we care, no matter how small the act may seem.
How do the materials or products from Guild Lane play a role in your artistic process, and in what ways do they enhance your creative vision?
Guild Lane’s products have been a game-changer for my work, especially in my ongoing Greek mythology series. I wanted to incorporate gold to evoke the ancient Greek aesthetic while adding a vibrant pop of colour, and Guild Lane’s GILD paints were exactly what I was looking for—beautiful, luxurious, and absolutely perfect.
As someone who primarily works in graphite, I love how the luminous, reflective quality of the GILD paints contrasts with the matte, dark pencil strokes. This interplay of light and shadow creates a stunning effect, making the piece feel even more dynamic and alive.
Looking ahead, I have plans to use Guild Lane paints in upcoming pieces that explore nighttime and darker themes. I envision using the paints as a source of “light” within the darkness, further enhancing the mood and storytelling of my work. They’ve truly opened up new creative possibilities for me.
What do you love most about running your own creative business, and what are some of the challenges you’ve turned into learning opportunities?
I absolutely love the freedom of running my own creative business and getting to do what I’m passionate about. Even though I work alone in the studio, I actually feel more social than when I was teaching. Teaching was incredibly mentally, physically, and emotionally draining—I was often too tired or busy to do much in the evenings or on weekends. Plus, taking time off was nearly impossible outside of school holidays. Now, I have the flexibility to take a day off whenever I need to, whether it’s for my mental health or to visit family and friends. It’s given me my life back, and I get to spend it creating beautiful things.
Marketing has been my biggest challenge. When I first started, I had no idea how to market myself and was too scared to put myself out there. But this has turned into an amazing learning opportunity. I’ve connected with so many wonderful artists who’ve encouraged me and shared advice. I’ve done a lot of research and am learning how to stay true to myself while marketing my work. I’ve already seen progress in just a year, and I’m excited to see where I’ll be in another year’s time.
Can you walk us through your approach to beginning a new piece—from initial concept to execution?
I always start by writing my ideas down. My memory isn’t great, so as soon as inspiration strikes, I jot it down in the notes app on my phone to make sure I don’t lose it. For larger projects, I’ve moved from traditional sketching on paper to using Procreate. I love how the app lets me work in layers, resize, and rearrange elements. It’s been a huge time-saver since I tend to change my mind a lot in the early stages. In the past, I’d spend forever erasing, redrawing, and erasing again, but Procreate allows me to experiment with multiple versions and compare them easily.
If I’m unsure about how to execute a concept or if I’m using unfamiliar materials, I turn to my sketchbook to experiment and explore. Once I’ve finalised a sketch on paper, I sometimes scan and print it so I can test ideas and techniques on the print before committing to the final piece.
What advice would you offer to aspiring artists or makers looking to develop their own style and find their voice in the art world?
Don’t be afraid to explore. Experimenting, whether the results are amazing or not-so-great, is a key part of growth and you’ll always learn something valuable from the process.
Try not to compare yourself to anyone else. This is something I still remind myself of regularly. It’s fine to be inspired by someone, but comparing your journey or your art to theirs can be a trap. I’ve seen—and experienced—how easy it is to adapt your style, your work, or even your story to fit someone else’s path. It only leads to frustration because you’re not being true to yourself.
Once I started focusing on what I genuinely wanted to create, I became much happier. Staying authentic has helped me build deeper, more meaningful connections and has allowed me to find my people—the ones who resonate with my work and my story.
What’s next for you creatively—do you have any upcoming projects, dreams, or goals that you're especially excited about?
I’m planning a couple of larger pieces that will be venturing more towards painting rather than drawing. Next year, I also plan on doing in-person events. I’ve already booked some stalls at a few markets and tattoo conventions and plan to add more to my calendar. I’m so excited about this as I’ve never sold work in-person—my products have only ever been available online. I look forward to meeting new people and artists and giving people the opportunity to see the quality of my work firsthand.
Eventually, I would love to have an exhibition with my Grandad. To have our work on display side by side would make my inner child's dream come true.
Where can people explore more of your work, whether it’s online, through commissions, or in physical galleries or stores?
You can find my work online through my social media pages on Instagram, TikTok, Facebook, and YouTube—all under the handle @amyjaneelves. I also have a website, www.amyjaneelves.com, where you can view my products and contact me directly with any inquiries.
Starting next year, I’ll be attending various markets, conventions, and fairs across the country. I’ll keep my social media pages updated with details about where I’ll be next, so you can come and see my work in person!
