Alison Pullen is well known for her compelling paintings of opulent interiors.

For her new collection, at the Sarah Wiseman Gallery as part of Oxfordshire Artweeks, visitors can expect to see paintings made at a variety of historic locations around Oxford; from the spectacular Blenheim Palace to the tiny hidden Bartlemas Chapel, and the world famous Sheldonian Theatre and Oxford University Botanic Garden.

She delights in the unfamiliarity of a new building when she first visits, approaching each place with entirely fresh eyes. Through the painting process and over numerous visits, Alison then slowly unravels and discovers the uniqueness of each location and this is what creates the magic of her work.

“She exhibited here in 2006, mainly London locations and Osterley Park House, where she’d been artist in residence, and mostly people said: ‘Wouldn’t it be amazing if she painted some locations in Oxford?’ Sarah Wiseman says.

Approaching Oxford venues, Alison first started painting at the Bodleian, the Divinity School, Convocation House, and Christ Church Cathedral. These paintings were a huge success and she relished the new challenge. As a result, Alison has continued to visit and paint in Oxford ever since, having fallen in love with the city.

This new exhibition, ‘In Situ’ explores new locations in Oxford including the Ashmolean and Blenheim Palace. So did Alison have a favourite? “ I’ve especially enjoyed painting the Ashmolean Museum. The objects on display are hallowed, precious and mysterious but also tell a story of people. I think that the collections are displayed beautifully, ancient objects taken out of their context and I like the way they are lit. I love the way people move around the museum and how they behave. It’s quiet. People are thinking and enjoying. They behave differently, with more respect, almost like they do in a church.

I also love The Botanic Garden, which is a really special place - the history, even the fact it still exists! It’s a haven in the middle of Oxford and clearly loved, it’s wonderful. Painting there, I am out of my comfort zone

So overall, the University and the city of Oxford itself is such an ancient institution and one of a kind. There is no place like Oxford and I hope that uniqueness is reflected in the work.”

Using collage, Alison begins each painting by flipping through hundreds of pages of interior magazines in search of images to use as a background, on top of which she will paint the scene in front of her.

“I love collage because in using it you already have something that needs changing,” she explains.

“I use whole scenes which are a reference to another place or space. I am in control of the process and yet, I am not.’

Alison aims to take the viewer behind the scenes of little known rooms and private spaces. She picks out details, such as drapes and ceiling cornicing using a bone-matt gouache paint, allowing glossy imagery from the magazine pages below to shine through.

The result is a beautiful, almost abstract image of an interior. “The painting of a room is like a portrait of the person who owns it. That’s what’s important,” she says.

Osterley Park House, Royal Hospital Chelsea and Fulham Palace are among the auspicious location settings for her previous work.

She was commissioned to paint at Buckingham Palace, where she made a series of paintings in the Throne Room, some of which are now in the Royal Collection.

“I am always happy to do something challenging,” Alison says. “I think I have a particular affinity with interiors because they are so personal. In the paintings of historic houses, I am inspired by the thought of all the people who lived there, and what has happened in those people’s lives in those rooms. Like layers of wallpaper, each person has left their mark in the room.”

As for the title, Alison explains: “The challenges of working in situ are integral to the work. If it wasn’t hard, the work wouldn’t be interesting.

“Working surrounded by the public, you have to really concentrate which keeps me on my toes and keep out of their way so they don’t trip over me, but I also need to find a place that satisfies me in terms of composition.

“Sometimes it’s cold, or the light is changing fast as the day goes on, or I only have the light for a finite period. I always work in situ – I don’t finish a painting at home. But all this means I have to get on with it, which forces me to get to the essence.

“I hope it imbues the work with the here and now. There is no waiting for the muse to strike! You have to deal with what you have at the time.