By 15, Robert Fuller had left school and, largely on the merit of his portfolio of artwork, was accepted on a two year BTEC national diploma course in art & design at York College for Art & Technology. Says Robert, 'After having a less than positive experience at school, Art College was brilliant. Finally I could dedicate every day to doing what I loved best.'

However, much to his horror, after having been left to my own devices at secondary school, he was banned from painting any wildlife and set on a fairly strict regime. As well as a producing work on wide variety of subjects - from life drawing to designing jewellery - he also spent hours on art technique, which was all new to him.

'We would practise tonal values, light & shade, perspectives and ellipses until we had perfected them. Even more terrifying was the size and scale of projects we were asked to complete. I had been used to doing small and highly detailed drawings mainly in pen & ink. Now I was expected to produce full colour drawings on canvases A1 and above. '

Robert was also the youngest on the course by a long way. Most of the students had come onto the course after completing their A-Levels and were 18 or 19 with all the confidence that sixth form had given them. Robert Fuller was already young for his year at school as his birthday is in July and he had only just turned 16. 'All of a sudden my portfolio, which was considered exceptional for my age, did not seem very good in comparison with the A-Level work that the others had produced!'

By the end of the course, Robert Fuller's work had improved tremendously and the lecturers' support and encouragement was greatly appreciated.
'I had gained a newfound confidence both in myself and in my work after years of being the bottom of class at school and the recipient of teachers' & students' rebukes. I had also made some very good friends, who remain friends to this day. The course at York was frustrating in so far as I was never allowed to produce my 'best' work, which would have wildlife as the main focus. However, it provided me with the knowledge of different techniques that I would not of have learnt whilst working in isolation and would prove to be of great value in later years.'

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After his course in York, Robert Fuller went on to study Wildlife Illustration at Camarthen for two years. It was one of the only courses in the UK to focus on wildlife and so after two years of 'wildlife exile' at York, it really appealed to him.

With hindsight, Robert thinks that he would have been better to continue broadening his skills and techniques on a more general art course rather than specialising so early. 'Moreover', says Robert, 'even back then I had little interest in illustration per se. I wanted to be a proper wildlife artist & had decided this when I was 14.'

After the rigorous training at York, Robert Fuller was surprised to be left to his own devices once again, which as an 18 year old suited him down to the ground.
Says Robert, 'I spent many hours of the day seeking out my subjects in the surrounding countryside and having found them producing a series of sketches from life. I would use these drawings as the main reference for my subsequent paintings back in the studio.'

However, life drawings and wildlife do not marry well together. Most of the time you only get a fleeting glimpse of your subject and much time can be wasted sketching down impressions rather than watching the subject itself. Of course it goes without saying that the great British weather does not help!

Around this time Robert's father, who as well as being a farm manager & conservationist was also a keen photographer, published a book on the wildlife at Givendale entitled 'Givendale - a farm in harmony with nature,' which was very well received. 'Indeed, says Robert, 'I was delighted to find a copy in the college library! ' Photography for a wildlife artist was clearly the way forward. Concentrate on capturing the subject on film first & concentrate on capturing it on canvas later, back in the studio. 'My Minolta 7000 with 70-210mm lens, although not the quickest of cameras, became an invaluable tool for my work.'

During the summer holidays, Robert Fuller worked as a volunteer at Chester Zoo. 'My main job was the unenviable task of cleaning out & feeding the camels. But, the animals at Chester Zoo were my first real contact with foreign & exotic species and I was fascinated. I was and still am an avid wildlife documentary fan and it was fantastic to get so close to the animals in the flesh, in fact it would often be a bit too close! It was also fascinating to get the behind the scenes view of zoo life and how zoo life connects to remote habitats around the world. Never did I imagine that I would be travelling to Africa and India in the years to come to see the same animals and birds in the wild.'

Although, Robert felt that he was not really stretched as an artist at college, he proved to himself that he was motivated enough to go off on my own and make up his own projects without the constant guidance of a lecturer. Says Robert, 'This would be essential as I set out to be a professional wildlife artist. I had produced a wealth of paintings and drawings that I was really proud of and had put together a good, strong final show. I was also 'honoured' with the Student of the Year award, which I was immensely pleased about.'

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On the last day of term, Robert Fuller packed his paintings back into his portfolio and set off home. On the way back he stopped off at Chester Zoo and sold over £1000 worth of paintings mainly to the staff at Chester Zoo. This was a huge amount of money to him and reaffirmed that his chosen career could be sustainable.

Robert used this money to set up in business trading under the name 'Natural Images.' However, he realises that he was fortunate that he could move back to his parent's house at Givendale, which saved him a lot of money whilst my cash flow situation was fairly erratic! Robert's first few commissions came from family friends. One commission lead to another, which in turn lead to a third and a fourth. 'I was mainly painting domestic animals and doing pet portraits, but at least I was off to a start. I approached several local galleries who agreed to exhibit my work, and so I was also working on pieces for them.' says Robert.

Robert Fuller's first proper exhibition was at 'Talent's Fine Arts' in Malton. The gallery had a good mailing list & he was also exhibiting alongside popular artists, which helped. 'I also invited as many friends and family as I could. I was delighted when most of the originals from the exhibition sold & the gallery were keen for me to do another exhibition the following spring. I was on my way!' says Robert.

Robert Fuller's first big break came when a journalist from a national magazine came to Givendale to do an article on his father. As they were sitting chatting in the kitchen, the journalist asked about the paintings of wildlife on the wall. 'They're by my son, who's just set up as a professional wildlife artist.' replied Robert's father. The journalist came up to Robert's studio & decided to do an article on Robert as well!

The journalist also suggested that if Robert was interested that he would introduce him to a gallery in London called the Tryon Gallery. 'I was delighted and after several letters and a meeting in London, I was offered the opportunity to display my work in one of their exhibitions. I displayed four originals of ducks and all they were sold on the opening night by an American collector. My first works to go overseas!' comments Robert.

During the summer months, Robert Fuller started exhibiting at various local game fairs and agricultural shows, which would be held over the weekend. Says Robert, 'The time at these shows dragged on a bit & so I decided I might as well do a bit of painting while I was sitting there. As well as meaning I was getting more originals together, this also attracted quite a lot of attention and I sold quite a few pieces.' For the next 5 or 6 years Robert built up to doing 16 of these shows around the country from June to September. They were hard work, but Robert's work was being seen and there was a great deal of camaraderie amongst the other exhibitors.

After delivering an original to one customer, Robert was explaining to him how he was busy preparing for various exhibitions in other galleries and for the various game fairs. 'That sounds like a lot of travelling about,' he said, 'why don't you hold your own exhibition locally. I'm sure people would be interested.' Says Robert, 'In my mind I dismissed his idea instantly, who would come?'

Several months later, when his bank balance was at an all time low, girlfriend Victoria, now Robert's wife, said, 'why don't we do that exhibition.' For the next few months Robert set about producing originals for this show. Victoria who had done a stint of work experience on a local newspaper suggested he should see if the local papers would be interested in doing a piece on the exhibition. Robert and his mother, Frances Fuller, put together a press release and both were amazed when all the newspapers got in touch and wrote articles about their budding local artist.

The exhibition, which was held in a barn at Givendale, was a resounding success. Says Robert, 'For some reason, I had been so focused on producing the originals and organising the show, that it was a huge surprise when people actually wanted to buy pictures! We hadn't planned for that and did not even have any change and only had a plastic bag for a till!'

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By this time, Robert's business was growing quickly both in terms of the number of originals he was paintings and physically outgrowing his room at my parent's house. 'In fact my things were in the garage, the spare room, the kitchen, the pantry - everywhere! It was time to find a place of my own.' Girlfriend, Victoria was in her final year at University and so they started looking for a suitable place, which needed to have the space for our home, as well as space to paint and exhibit my work permanently. Even back then house prices were too high for an artist's wages, and the banks weren't particularly enamoured by the highs and lows of an artist's bank balance.

Says Robert, 'We found the perfect farmhouse to rent 5 miles from Givendale, half a mile from the village of Thixendale on the Garrowby Estate. No neighbours to worry about when cars turned up and parked outside at exhibition times, plenty of space for a gallery and studio, lots of wildlife in the surrounding fields and not to far from Givendale that I would have to start finding customers all over again.'

By this point, the running of the business was increasingly taking Robert away from the easel & painting time. Says Robert, 'I was delighted when Victoria offered to work full time and see to the business side of things.'

Robert Fuller began to hold two exhibitions a year at Fotherdale, one in spring and one in November. They were a great success with most of the originals being sold in the first few days. At exhibition times, Robert would have up to 1000 people coming through his house up to the gallery and studio, which were on the first floor. Everyone enjoyed the exhibitions, but it was a bit of a squeeze, especially on Sundays when the house would become grid locked and people would be queuing in the driveway, waiting to come in!

In 2000, Robert and Victoria travelled to Botswana for a three-week self-drive safari, driving between Maun and Chobe on non-existent roads. After their brief time watching the big 5 in Zimbabwe in 1998, they were dedicating the full 21 days to watching game. Says Robert, 'We were not disappointed and I returned to the easel fuelled with ideas for paintings. But would African wildlife sell? I had spent the last 8 years selling paintings of British Wildlife, who would want their African counterparts? I needn't have worried, as the African paintings were the first to sell at the following exhibition to my great relief!'

In 2001 Robert & Victoria were desperate for extra space, not only for exhibition times, but also for the mail-order side of the business which was thriving especially in the run up to Christmas. They learnt about the Rural Enterprise Scheme run by DEFRA and made an application to convert the redundant buildings next to Fotherdale Farm into a large 60ft gallery and adjoining workshops. 'We were delighted to be successful and work started immediately so that we would have the new gallery and workrooms open in time for my November exhibition. The five months of building flew by and we were ready just hours before the opening night!'

'My bi-annual exhibitions at Fotherdale Farm continue to be very well attended, with 2750 people coming to my last show. '

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In the last three years, I have been lucky enough to spend more and more time in the field, both in the UK and abroad, watching and photographing my next painting subjects. The wildlife around Fotherdale gets better and better and many of my recent paintings have been of wildlife photographed from my living room window! I've put together a small photo gallery below, containing photographs from my recent trips, which I will keep adding to over the coming years.

Right: Robert Fuller with camera photographing badgers at Cropton Forest.

Kingfishers - Near Pocklington 2003

Grey Partridges - Fotherdale Farm 2004

Roe Deer - Glasgow 2004 - Photographed in the Necropolis cemetery

Roe Doe and fawns photographed between the grave stones in the centre of Glasgow.

 

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