Alison Friend
- Anna Lilli Garai
- 5 days ago
- 4 min read
Updated: 1 day ago
Alison Friend began her career illustrating children’s books, but painting quickly became the space where her ideas took on a different kind of life. Her oil portraits of animals are full of quiet humor and character, blending careful observation with a clear sense of play. Drawing from everyday thoughts, wordplay, and passing conversations, her work builds from notes rather than sketches. Each painting feels like part of a larger story, shaped by both curiosity and discipline. Though the characters may seem lighthearted at first, there’s always something more going on behind their expressions.
Q: You started out illustrating children’s books. What made you want to step away and follow your painting path?
A: I had been doing digital illustration for years, and it just started to feel a little soulless. I became bored with the fact that I could correct mistakes with the touch of a button. I missed getting my hands dirty. When COVID hit and book projects weren’t coming in, I started painting these funny characters in oils.
I really loved it and saw no reason to stop, as I could paint what the heck I wanted.
Q: What made you start painting animals the way you do? Can you remember a moment it all clicked?
A: My favourite part of illustrating books was the character creation, and I have always preferred painting animals. It was a very natural thing to do when I picked up the paints. The narrative is still there too.
It really clicked when I started thinking of them as old master portraits — that juxtaposition between the humour, the contemporary cultural references, and the colour palette of old masters, the poses, and the dour expressions of the sitters.
Q: Your paintings often feel calm on the surface, but there’s a lot going on beneath. What usually gets a new idea rolling?
A: I’m glad you said that. I really hope people feel that when looking at my work. My ideas often start with puns and wordplay, and that can start with a conversation or reading a story — or often seeing things on social media that amuse me. I’ll run off and get my notebook or type it into my phone. I make written notes rather than sketches initially.
Q: There’s lightness and humor in your work, but also a quiet precision. How do you find that balance?
A: Humour is a very important part of what I do, but the act of painting is a serious business for me. I think that’s exactly what I love about making these paintings so much — the meeting of those two things.
I do like to think there’s a complexity to my characters. I want people to view them and wonder what their story could be. Who they are. I don’t think they are vacant-looking, twee, chocolate box characters.
Q: What’s a good day in the studio like for you? Do you stick to a rhythm or just follow where the work goes?
A: A good day in the studio is waking up to no computer admin. It’s a coffee or two, and then I sit down and get right into it. I’ll listen to the radio or an audiobook.
Some days I feel like starting pieces — I have many paintings on the go at once, mainly due to the slow drying time of oils.
I love starting new pieces and getting the ideas down on canvas and blocking in those initial colours.
Other days I have to talk myself into actually finishing some. A good day is 8 hours at the easel.
Q: If you could pull one of your characters out of the painting and spend a day with them, who would it be?
A: Great question!! It’s got to be "Douglas Made a Portrait of His Best Friend Paul". He’s creative but outdoorsy and loyal to a fault.
Barring that, it would be the two cats from "Found the Catnip and Lost Their Minds".
Q: Have you ever had a response to your work that really stayed with you, something unexpected or moving?
A: In the past few years, many people have shared stories with me. A lot are people sharing stories about their departed pets, but some of the most heartfelt ones have described my work as having helped them through tough times.
I think the most unexpected response was one person who meant to send me a photo of "Cute Pete" to ask about his availability — but accidentally sent a photo of her boyfriend’s man parts.
I howled! She was mortified!!
Q: Is there a scene or idea you keep circling around that you haven’t quite figured out how to paint yet?
A: Yeah, it’s not so much a scene, but more a curiosity to experiment with a larger format. I currently paint quite small, but that’s as much to do with the confinement of my studio space (I currently work from my kitchen) as me not being able to quite take a leap in scale.
I don’t know whether this means scenes with many characters or just huge portraits of single characters. I’m moving to a new studio soon, so watch this space, I guess?
