This Artist Spotlight accompanies SPLICED, a two-person exhibition at TM Gallery presented by Hannah Payne Art, pairing artists Fleur Simon and Jost Münster. The show brought together works by two painters connected through the Ruskin School of Art, where Münster was tutor to Simon, who was a postgraduate student at the time.
At the heart of the exhibition was an exploration of dialogue – between tutor and student, peers and mentors, and across practices shaped by different generations. The pairing invited reflection on the way artistic influence flows in both directions: how teaching and mentorship can shape a young artist’s voice, and how emerging perspectives in turn enliven established practices.
In this interview, we speak with Fleur Simon, who recently completed her MA Fine Art at the Ruskin, about her evolving practice, the role of mentorship, and the peer dynamics that continue to shape her work.
With thanks to the TM Gallery programme curator, Hannah Payne for this interview.
Thinking back to your time at art school, what stands out most in terms of the environment or teaching style? Were there moments of resistance or revelation that shaped your direction?
The positive experiences were probably when they were teaching us practical skills, how to stretch a canvas, life drawing, where to buy materials. I also think the tutors that helped the most were the ones that spoke about their personal practices and/or gave feedback that was emotional and intuitive, trying to push me closer to the way I should be working.
In your recent talk with Richard Wentworth at TM Gallery you each spoke about the shifting dynamic between tutors and students. Did you experience a pivotal moment or piece of advice from a tutor that stayed with you?
When my tutor City & Guilds gave me a (light) punch on the shoulder after I showed him my first resin pour. I read it as him saying that there’s something in this that is you.
Were there specific artist peers or fellow students whose work or attitude inspired your own approach, either then or now?
Nobody is specific in terms of painting; however, I think being around other people there who were so set in their conviction and self-belief about their work was something that I benefited from being around.
Can you share a specific artwork, text, or exhibition that’s had a lasting impact on your thinking?
Aesthetically, Wolfgang Tillman’s Freischwimmer series. Ryan Sullivan’s use of material and concern with creating the unforeseen, alongside the strong presence held in Harminder Judge’s paintings. I think Ron Mueck’s Dead Dad sculpture comes to mind during my BA. I couldn’t believe the vulnerability in the work, and how someone could be so literal, like it felt realer than real life.
What is your mental approach when entering the studio? Do you follow a routine or let instinct lead?
I like getting there early. I don’t like talking to anybody before I get there and I do like to have a plan of how the day is going to go. Once the main part of the plan is done, I can be freer with things.
How do you deal with moments of uncertainty or pause in your practice – when ideas or outcomes feel elusive?
Not very well. And hoping to get better.
Can you describe your state of mind while making?
I think a little stressed. I think going forward I’d like to be a bit more playful with things. I know that I feel lighter after.
How important is accident or intuition in your making process? Do you plan meticulously or respond in the moment?
I think it’s integral to my way of working as I think I’m almost facilitating accidents or creating an environment for something to happen by chance. I will plan meticulously – good studio hygiene, spirit-level, correct temperature, measuring the materials correctly – to facilitate an accident.
How do you know when a work is finished?
I’ll lean it against the wall for a couple of days and get on with other work, and quite often I will come in one day and decide whether it’s done, or have an idea of what I need to add.
How did showing at TM Gallery with its focus on light affect your thinking or decisions?
It was interesting to see two of my works (Spliced I and II) properly lit as the light in my studio isn’t as strong and I was aware of how vivid/violent those red pigments were for the first time.
What are you aiming towards in your practice?
Are there any ambitions – personal or professional – you’re working towards, such as a particular project, museum show, collaboration, or new direction?
I think my work is changing quite a lot at the minute, so I think my priority is to make sure I’ve got the energy to keep going in exploring these new ways of working.
Showing alongside Jost Münster in SPLICED offered Simon the chance to see her work in dialogue not only with a former tutor but with a peer whose practice continues to evolve in parallel. The exhibition underscored the importance of mentorship, exchange, and conversation – threads that remain central to her development as an artist.
The exhibition runs until 27th August 2025.