Is your work available to purchase?

I am always very honoured by people who chose to collect my work and invest in me as an artist.

My artworks are all individualy made (sometimes part of a series of similar), but they always remain one of a kind. 

If you are interesting in collecting one of my artworks there are various options as I hope for them to be attainable to anyone. The ‘buy now’ button underneath the artwork page also includes options to pay later.

I also have a selection of prints that are now availalbe on selective artworks, with options on sizes and framing. Click here.

For any questions please do contact me directly.

Do you frame the work?

Framing is available for an additional fee. These are float mounted and can be customised. Alternatively I can arrange for various other framing options through a local workshop.

Please contact me for futher information

Do you teach?

For me, teaching goes hand in hand with my own artistic practice. I gain as much out of them as do my students, the aim being to create an atmosphere of a shared working practice where artists can discuss their process with the addition of any ideas people can get from my techniques and style.

I am available for group bookings and charge £50 per hour with workshops being catered for absolute beginners to more advanced painters and anywhere in between. Having your own equipment would be a preferable. See my materials list below for an idea of the basics.

I also have many workshops in the diary. Please contact me to enquire about making a reservation or check out the calendar on my homepage

How can I keep up to date with your newest work?

Put your name and details into the contact form you’ll be first to hear about all new works and exhibition news.

Do you paint everything on location?

No, but I often complete drawing thumbnail studies on location alongside colour notes to help me gather the basic information needed to develop a series or individual piece. In the past I have painting plein air and often teach classes using this method, and I still begin work outside on occasions.

When I’m painting in the studio I have the time, space and controlled light to create my artworks. Both methods have their advantages and disadvantages.

Do you do talks?

Yes. I am available for talks to art societies, clubs and classes. Please email me to arrange a booking.

How many paintings have you done?

Lots! Because I work on many boards at once, it’s hard to say how long each painting takes. This method allows be to jump from one painting to another, retaining an energy and relationship throughout the artworks. I often attempt to make work that links to each other in some way, or is taken from the same place. Therefor they will contain similar colour paltettes and during their developments- they will have a shared history.

Working on numerious boards also allows me to be less fixed on the production of one artwork, so as a result I can be prepared to take risks and produce more exciting work. If one fails, then thats part of the process.

Do you ever destroy your work?

Yes. Again- this is part of the process.

Do you have a favorite artist or artists?

I have been influenced by many artists over recent years. Previously, I was infatuated with the work of Edward Hopper, and how his compositions explored light and shadow so cleverly to create powerful, cinematic scenes that radiated mood and unease. I found them beautiful, but I can see how some find them almost haunting and remote.

Other American artists such as Wayne Thiebaud and Ben Aronson have also influenced my practice as have my previous tutor at art school, June Forster. Richard Diebenkorn, however, was the one who I feel took my work to new levels. His ‘Cityscape’ series amongst many artworks of his, have proven to be enormously significant in my practice and continues to be now.

Recently I have started to explore the work of Raimonds Staprans and Euan Uglow too- and I am always looking for other artists whose work I find inspiring and interesting. Very often this comes from those on Instagram, or even artists who attend my workshop such as New Zealand artist Michelle McIver.

Do you have a favorite painting?

Yes, I have many. My ultimate favorite is Richard Diebenkorn’s ‘Cityscape 1’, 1963. at the San Francisco Museum of Modern Art. I visited the RA about four times when it came to the UK as part of the amazing Diebenkorn show. 

Where/how did you learn to paint?

I trained at Aberystwyth Univeristy School of Art in Wales where I specialised in painting and printmaking. This, alongside many hours of colour theory, life drawing and measured drawing helped my development. Continuing to push my ideas and practice after leaving art school was always more challenging, but due to the size of my ‘studio’ (my dads shed)- my work remained quiet small!

What materials do you use?


Winsor Newton Artists Quality Oil colour

Titanium White
Cadmium Yellow
Yellow Ochre
Bright/ Cadmium Red
Naples Yellow
Sap Green
Phtalo Blue
Cereluen Blue
Burnt Umber


Daler Rowney ‘Brisslewhite/ Georgian’  Filbert sizes 0-10


Turps, Liquin.


Sized and Gesso Primed MDF x 4 and sanded.

Painting Wedge

Catalyst Painting wedge by Princeton- W-O1.

Contact me for the latest on upcoming shows and workshops.

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About Tom

Tom Voyce (b. 1989) is a Landscape painter currently based in the UK who is interested in portraying the essence of place.

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