The artistic inspiration behind "Watching the Marsh Harrier"

Sophia Williams April 24, 2025

Rather than continuing with another location guide this week, I'd like to share the story behind one of my recent paintings. "Watching the Marsh Harrier" emerged from countless mornings spent along the East Bank at Cley-Next-the-Sea, each visit offering a different experience of light, movement, and atmosphere.

This 50 x 50 cm (19.7 x 19.7 inches) oil on cotton stretched canvas captures more than just a visual scene—it holds memories of specific moments that have become layered into the final image.

The morning that changed everything

Last June, I arrived at the East Bank before sunrise. The mist was still clinging to the reeds, creating that distinctive Norfolk softness that blurs boundaries between land, water, and sky. I'd been to this spot dozens of times, but this morning felt different—the light had an unusual quality that photographers call the "blue hour."

I set up my portable easel and began making quick sketches, trying to capture the essence of the scene before the light changed. That's when I spotted the marsh harrier, its distinctive V-shaped silhouette gliding low across the reeds.

What captivated me wasn't just the bird itself, but how its movement created a relationship with the landscape—the way it navigated the spaces between reed beds, responding to subtle air currents and the contours of the land. The harrier wasn't separate from the landscape but an integrated element of it.

Translating experience to canvas

Back in my Stiffkey studio, I began working on a larger piece informed by that morning's encounter. Rather than creating a literal depiction of the marsh harrier, I wanted to capture the feeling of witnessing that moment—the anticipation, the quietness, the sense of privilege in observing such a perfectly adapted hunter in its natural environment.

The canvas went through several transformations. Early layers established the soft gradations of the misty morning landscape. I blocked in a background colour of mid tones to enable me create textural elements in the foreground reeds, building up layers that suggest movement and the passage of time rather than a frozen moment.

The harrier itself appears more as a suggestion than a detailed portrait—its presence felt through the composition rather than dominating it. This approach reflects my belief that landscape painting isn't about documenting a scene, but about conveying an experience of place that includes all senses.

The technical challenges

Working with oil on canvas presented both challenges and opportunities for this particular subject. I wanted to capture the distinctive quality of early morning light on the marshes—that moment when mist creates a diffused glow that seems to come from within the landscape rather than from above.

To achieve this effect, I used an underpainting of warm ochres and soft blues, allowing hints of these foundation colors to remain visible in the final piece. This creates subtle vibration beneath the surface that gives the painting depth beyond what's immediately visible.

The cotton canvas surface provided an ideal texture for building these layers while maintaining the painting's atmospheric quality. The stretched box canvas format allows the piece to be displayed without framing, creating a more immediate relationship between viewer and painted surface.

Finding your own marsh moments

While the painting emerged from my specific experiences at Cley, I hope it resonates with anyone who has spent time in these landscapes. The Norfolk marshes offer something different to each visitor—perhaps you've had your own encounter with wildlife, or been moved by a particular quality of light that seems unique to this coastline.

If you'd like to experience Cley's marsh harriers yourself, early morning visits to the East Bank provide the best opportunity. The Norfolk Wildlife Trust visitor centre offers excellent information about recent sightings, and their café makes a perfect spot to warm up after an early expedition.

The Picnic Fayre delicatessen in the village is another essential stop—their locally-sourced provisions have fuelled many of my painting trips. A coffee and one of their exceptional pastries provides perfect sustenance for wildlife watching. I grab a loaf of James's bread whilst I'm there too.

If you're visiting in June, keep an eye on social media for updates about Cley Open Gardens, a wonderful charity event that offers rare access to the private gardens of this historic village. The event provides yet another perspective on how this unique landscape influences creative expression.

Connecting with the painting

I find that paintings of specific Norfolk locations often resonate particularly with those who have their own connection to these landscapes—whether you're a permanent resident, a second-home owner, or someone who returns to this coastline whenever possible.

Many collectors tell me that having a painting of a beloved landscape creates a daily connection to that place, even when they're physically distant from it. The artwork becomes not just a visual reminder but a portal to the sensory experiences and emotional responses that make North Norfolk special.

To see "Watching the Marsh Harrier" and discuss its creation in more detail, email thesophiawilliams@gmail.com or call 07800590262 to arrange a studio visit. I'm always happy to share the stories behind my work and hear about your own experiences of these remarkable landscapes.

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