Meet the artist... Nic Gotch
Nic is a still life photographer with a background in film and
television, now based in the French Pyrenees. Her transition from moving image to still photography reflects a deep interest in form, light, and the quiet drama of natural objects.
Influenced by the Italian Renaissance, Dutch Masters, and the Pre-Raphaelites, as well as modern artists like Georgia O’Keeffe and Robert Mapplethorpe. Nic brings a painterly sensibility to her work. She uses only natural light, never post-production effects, and prints on fine art paper to preserve the integrity of each composition.
Her images are framed in handcrafted wooden frames finished in iron or pewter patinas, creating a timeless presentation suited to both classical and contemporary spaces.
Her ongoing series, Spheres, explores the tension between order and impermanence through botanical arrangements. Exhibited in London and now receiving attention in France, the series reflects Nic’s broader interest in capturing stillness, beauty, and quiet transformation.
Nic's Philosophy on "Spheres"
"These spheres are botanical altars natural elements are collected and arranged. These works are not only about composition based on colour and texture but also based on the energy and emotion that connects each element. The positional relationship between each element must also balance the whole.
Once the arrangement is complete, I take several images with a fixed lens camera using a reflective surface. Reflections appear as natural light changes. I choose the image that encompasses the depth of emotion and
suggests more - a kind of elaboration - an imaginary story. I like to work in the circular format which not only refers to the world as a whole but to the eye itself. What is inside is outside....
These "altars" are a celebration of the natural world and echo the spiritual reverence that other altars hold. Once the image is created, that impression is all that remains. The arrangement is abandoned. I am then ready to wait to create the next one when time calls.
The positional relationship between each element must also balance the whole. Once the arrangement is
complete, I take several images with a fixed-lens camera using a reflective surface. Glare appears as natural light changes. I choose the image that encompasses the depth of emotion and suggests more – a kind of elaboration, an imaginary story. I like to work in the circular format that refers not only to the world as a whole but to the eye itself. What's inside is outside....
These "altars" are a celebration of the natural world and echo the spiritual veneration that other altars maintain. Once the image is created, that impression is all that remains. The arrangement was abandoned. I am then willing to wait to create the next one when time calls."
