Whilst Nancy continues to support herself, through sales of assorted artworks including photography, charcoal and pencil drawings, she is keen to try and raise some capital and advertise her talent through an exhibition in Lincoln.

The exhibition is at The Sam Scorer Gallery in Lincoln during August - 'Fine Art Exhibition: Charcoal Drawings in the Academic Tradition' by Nancy Fletcher.

The gallery, is situated at 5 Dury Lane, Lincoln, with the exhibition on view between August 16-28, 2004.

Opening hours are -
Monday-Friday :10am - 4.30pm
Saturday:11am - 4pm

Nancy has also written about her experiences studying in Florence -

Unfortunately today, there are no college or university art departments able to provide well-researched, well-taught art instruction. Having studied drawing in the Renaissance tradition in Florence from 1995-1996, I knew where to find a school that teaches genuinely good artistic ideas and practices.

One of Nancy's sketches

Without a solid foundation in the basic techniques in drawing and painting, effective communication through the medium is unattainable. Therefore it is essential for aspiring artists, like myself, to study where there is a firm grounding in the technical and material aspects of oil painting.

I have studied for two years at The Angel Academy of Art, a school rooted in the 19th Century academian tradition, and want to complete another two before progressing to the graduate programme. The studio is located in the historical centre of Florence, moments away from the 'Du! omo' (Florence Cathedral).

With a thorough understanding of my medium I will be able to manipulate according to my intended design. Representational oil painting will realistically enable me to further recognize the goal of relaying a story to the viewer.

As for technical ability, rendering a drawing/oil painting is my forte, and having a great deal of patience on my side is a huge advantage. I am always so eager to start rendering the light areas of a painting that I have to remind myself of the importance of each step in the progression of the work, the beginning stages being the most significant. For example, the gesture of a figure, placed in the beginning stages, when done correctly can evoke so much emotion that the overlaying details become subservient to this initial placement of a few lines.

I find it interesting that an artist can be subdued to a particular style of drawing. Mine is neat an dtight and breaking through a combination of style and lack of confidence is not an easy task. The initial stages are quite abstract, and without much conscience decision I am extremely smooth, something I am well-known for at The Angel Academy of Art. I like to feel a certain control over my medium, and the more I know about a medium the more excited I get about mastering the ability of realizing my ideas on a canvas.

I am inspired by old masters such as Charles Bargue, Jean Leon Gerome and many other 19th Century artists. What they achieved in oil is incredible and my goal is to reach that same level of skill. Being able to reproduce realistic portrayals of cultures, moral messages and stories is something I've always wanted to do and felt limited by photography. Enhancing the viewer's understanding of an idea is important to me, and generating the desired effect with oil paint is something I look forward to in the future.

Learning is my greatest pleasure, and communicating knowledge with oil paint will soon become my greatest passion.