There is a quiet sensitivity to Emma Davie’s work — a softness that feels less like a depiction of place and more like the echo of a memory. Based in Papamoa, Emma paints in oil and acrylic, building layered, atmospheric compositions that speak to pause, presence and the power of slowing down.

Her landscapes are not literal. They are felt. Emerging somewhere between lived experience and intuition, they carry the residue of roadside glimpses, scattered shells, shifting light and subconscious impressions stored quietly over time.

In this conversation, Emma shares insights into her instinctive process, the balance between acrylic and oil, the role of music in her studio, and the gut feeling that tells her when a painting is complete. Thoughtful and refreshingly honest, she speaks about introversion, experimentation, and the quiet courage it takes to let a work reveal itself.

Your work often feels like a memory rather than a specific place — do you think you paint from lived experience, imagination, or somewhere in between?
I definitely think I flit between both. I've had a great learning curve of experiencing how the subconscious can be so powerful in our lives. Although we maybe on the wheel of life and not fully conscious of every moment we experience. It’s there in our memory bank waiting… A glimpse of a road side scene, a scattering of shells on the beach. 
I am constantly in awe of how I can paint something that can be completely new to me, and it will resemble a feeling, moment or place, and sometimes somewhere yet to visit.
The power of slowing down life, has allowed more time for observation and therefore has influenced my work immensely. I am consciously trying to move away from direct references to places, and instead letting the marks appear how they need to, in order to reveal the final work. 

When you begin a painting, do you have a sense of where it’s heading — or does it tend to take on a life of its own?
It’s completely organic. I have no plan and I have learnt to embrace that. I have found in the past that if I try and plan something it will fall short of my vision. 
So now I clear my mind, get into the flow of pushing paint around and allow the work to build itself. There will be some point in the mark making, that I can sometimes see a clear path. But equally it can be a very uncomfortable process of adding paint, and moving around the work blindly. Only to stumble onto a finished piece.

Does painting feel instinctive for you, or are there days you really have to push yourself into it?
I have learnt to not push too much. I have to be in the right frame of mind and have the energy. If I feel tired it will show in the painting, and I will often mess up the work I have done.
On days when I'm just a little unsure, I start on paper works, collage, etc, to get into the flow. Also music is a huge element for me in my work.  Somedays I walk into the studio and walk out. I know then to use the time for thinking or more recently just doodling small landscapes, textures, journalling, or planning. 

You work with both oil and acrylic — what do you love about each, and what makes you combine them?
I never used to work with acrylics, I started painting at school with oils and it stuck. 
Only in the last 6 or so years started using acrylics to start my works. Partly because I had small children so tried acrylics because of the time constraints and less clean up. 
This has led me to continue with acrylics because they dry so quickly it allows me to make quick marks which I have no time to worry about. It’s a very important way of switching from my left brain to my right, and get into the flow. 
I don’t do much in acrylics, as it doesn’t take long before they start to annoy me and feel limiting. It's then that I know it’s time to move onto oils. 
The oils just have a lustre and body to them which I love and my style or practice is based around how oils work for me. 

Do you naturally lean toward larger scale works, or do you enjoy the intimacy of smaller pieces just as much?
I like to work in both small and large. I would like to go bigger, but I will have to buy a bigger car. LOL
I love working big, and can sometimes find smaller works harder as it’s so restricting for the information you put into it. But having said that - I still do it as I don’t want to pigeon hole myself and not experiment. I like to try things which I find a challenge, whether its new materials, surfaces, or size. Working small can sometimes open up your practise to refine the effective marks, and also free you a lot.

What’s your studio vibe: music on, silence, podcast, or total tunnel vision?
It used to be silence for a long time. But more and more recently over the years, music is totally my vibe. All sorts, 80’s, 90’s, rock, pop, classical, folk, and very LOUD!. 
It’s got to lift me when I need to get out of my head and just attack a painting, but equally for more detail it has to sustain my attention and focus. It really regulates my energy.

Are there colours you find yourself returning to again and again? And any you quietly avoid?
I'm not a big brown fan, but I'm trying more and more to integrate it into work, even if it’s mixed. I really try not to narrow my focus, and as I work instinctively, I will get a colour pop into my head when I ask myself - what colour needs to be added. It’s a very aligned process for me. 
I really try to stimulate the eyes, with colour or provoke a feeling so colour is vital for me.

When do you know a painting is finished — is it a clear moment, or more of a feeling?
Funny the other day, I thought to myself it can be like turning a corner and seeing someone you know. Or it can be a slog to the end. Equally sometimes you can be so immersed it, and have to put the brushes down, only to come back to it after a week and realise - its done. But if you continued at the time, it could have been pushed too far.
I find it to be more and more, a gut feeling. ie Sometimes you just know it’s not done and you can’t bring yourself to put it out into the world. 
There has been many times I have taken photos of works mid way through, and when I look back I wish I had stopped then. I definitely don’t rush works out the door, I sit with them for a while and just arrive at a knowing that its done or not. 

If you could describe your work in three words (that aren’t “abstract” or “landscape”), what would they be?
Organic, expressive, open

If your paintings had a pace, what would it be?
OHH - I like to think my paintings relay a feeling of pause and peace, even with challenging colours. 

Your paintings feel emotive and expressive — would you describe yourself as more introvert or extrovert?
I think more introvert. I don’t like large gatherings, parties etc. I'm more a one on one person. I'm actually very shy and don’t like attention on me. 
I do think sometimes with close friends and people I am comfortable with, that I can  be more extroverted at times. But that can be nerves coming out. 
I love alone time, and can get very overwhelmed - but it’s taken some time to really understand that about myself and be ok about it. 

View more of Emma's artworks here