The artist painting all things fast
All photography by Michael Cedeño @michaelacedeño
Tati Baker is one of the biggest artists in the world of Formula 1. In May 2026, we visited her home studio to shoot the cover of SLICKS Issue 04.
Lewis: Let’s start this off with your day-to-day role.
Tati: So I actually do a fair bit of presenting. The art has only just become part of my life.
L: You started this in January?
T: Wild, isn’t it? I spent so many years trying to be somebody. I spent a long time wanting to be known for something. Nothing was working up to that point.
L: Was presenting not scratching that itch?
T: It was, and I still enjoy it, but there are so many people wanting to do it and it’s become quite oversaturated. People who grew up wanting to be presenters aren’t even doing it because influencers are getting booked instead. But I do enjoy being on TV, that’s never got old.
L: Do you have a favourite painting to date?
T: I don’t really get attached to my paintings and I’m not sure I have a favourite, but the one that means the most to me is Funky Hairpin, it’s the one that started all of this. I’m glad I didn’t sell the original.
L: How do you come up with the names for the paintings? Any specific process?
T: I’m actually really bad at that. Funky Hairpin, for example, is pretty self-explanatory. Same with Suzuka In Blossom. I don’t dilly-dally with the names.
L: Which circuits have you painted so far?
T: Done lots of Monaco, just because it’s so iconic and I love painting it. Done Suzuka, Monza, Las Vegas, Austria, Abu Dhabi, Montreal.
L: Could you talk about your process?
T: I like to start with the background colour. It’s usually pink, because there’s not a lot of pink in what I typically paint, so it’s a nice contrast when it peeks through. I use an oil pastel to sketch out where I want things to go. I don’t really plan my colours, either. I just put some colours on a palette and see what looks nice, to be honest. So there is a process, but it’s quite a loose one.
L: Have you painted your whole life?
T: Yeah, I have, so I guess the process is subconsciously happening. Plus, if I don’t like how something is looking, I can just paint over it. It’s not like carving into wood where it’s irreversible.
L: What made you try to paint F1 cars?
T: I’m a huge F1 fan, have been for years. One of my New Year's resolutions was to be more creative. I love painting and it’s a nice way to relax. I was looking at existing F1 art, and it’s all incredibly detailed. I didn’t see much that was a bit crazy. I had a spare canvas and one night I thought, ‘why not?’ I hate the phrase, but the rest is history.
L: From starting in January, you were invited out to Miami to paint next to the circuit. What was that like?
T: I was doing a load of videos along the lines of ‘painting every F1 track until I make it to a race’. I’d never been to a race before, either. Then one night I was out with friends and I had a message request from the Concourse Club in Miami. They invited me out and asked me to paint from their hospitality at the circuit. I thought it was a scam at first, but after some back and forth, it was all planned and it was one of the best weekends of my life.
L: Could you tell us a bit about your artist studio?
T: At the moment I do everything from my flat here in London, whether that’s painting or sorting out print sales, which is nice as I don’t have to travel to my studio, but it also means I have to live amongst a shit tonne of paint and canvases. It takes up the whole flat, but I wouldn’t change it.
L: How did you develop your style?
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T: I’ve never been somebody who paints realistically. When I studied art at school, I dabbled with realism, but I’m far too impatient for it. I’ve got so many ideas that I want to get through and this style I have now lends itself to being quick and expressive, which I love. One of the biggest parts of my style is colour, and lots of it. I don’t wear much colour, but I love to make my art as colourful as possible.
L: How do you know when to stop?
T: When it makes sense. Obviously, if there’s no car on the canvas, then it doesn’t make sense. There’s no rule to this, but once I find it pleasing to the eye and nothing is missing, like a grandstand or some kerbs, I can call it a day. It’s easier said than done though and sometimes I don’t know when to stop.
L: Do you complete a painting in one sitting?
T: Weirdly enough, the smaller paintings take me longer. But as I mentioned, are they ever totally done? There have been times when I’ve woken up and felt the urge to add a little something extra to an old painting.
L: Did you have a creative upbringing?
T: My grandpa was very good at painting, I’ve seen some of his work. One of my earliest memories was painting, so I guess I’ve been creative since I was very young. I remember being taken to the Tate in Cornwall and being blown away by it. Then one of the first art activities I had at school was to paint my house, and my teacher gave my mum a nudge to say that I was scarily good for my age. When I was about eight, I’d walk around my street and sell my paintings door-to-door to my neighbours.
L: What’s your take on the industry and how do you navigate your creative practice in this era of short-form video?
T: I do feel like I need to post about the process more. But when I’m painting, I’m not thinking about whipping out a tripod and making a video. I’m a painter first and foremost. It spoils the magic of what I do if I try to make videos of every single aspect of it. It’s just another thing to think about, and to worry about.
L: What are your goals for the future?
T: I want to host my own exhibition this year. I’ve met with the Art Director for Silverstone, Renata Fernandes, and she mentioned how my art is beyond the track, it’s not just the cars. And straight away I thought how cool Beyond The Track would be for an exhibition name. So I’d love to host an exhibition in London, get all my mates down, have some paintings out, some drinks. I’d love to work with some teams and go to more races too.
L: For your first race experience, did Miami live up to your expectations?
T: It was great. It’s true though that you really don’t see much from a grandstand or hospitality versus on TV at home, but the atmosphere is unmatched.
L: What made you pick acrylic paint and not some other medium?
T: As I said earlier, I’m extremely impatient and acrylic paint dries very quickly. Plus it’s quite affordable versus oil paints and other stuff.
L: Would you dabble with other mediums if you were asked?
T: Funny you say that because the acrylic paints were drying so quickly in Miami that it almost became a bit of a paste that I could mould. It almost felt like I was painting with clay. It was really textured and looked cool.
L: Do any other artists inspire you?
T: On the topic of thick paints, I love what Werner Bronkhorst is doing and his work almost has this 3D element to it.
L: He does a lot of tennis paintings. Any other sports you’d like to try?
T: Maybe some equestrian stuff, or golf. The more luxury sports could definitely work.
L: What would you be doing if it wasn’t for presenting and painting?
T: Oh man, I’m known as the queen of side quests. Honestly, I’ve tried almost everything. Beauty and skincare subscription boxes, resin coasters, jewellery, nail technician, I even had a stint as a stand-up comedian, believe it or not. But for now, the art is treating me well, so I’ll stick with this and see what happens.
Follow Tati’s creative journey on Instagram @tatibakerr and tatibakerart.com
