French scenery paintings by zoe11/9/2023 Technically, how do you represent skin in such a soft, beautiful way? Some ballets like Le Parc by Angelin Prejolcaj are also quite dear to me. I look a lot at dance too, especially pieces that go along the work of Pina Bausch. In contemporaries, I really like the work of Gerhard Richter, Elizabeth Peyton, Jenna Gribbon, Louise Giovanelli, Esther Janssen or the illustrator Brecht Evens to name a few. I also get inspired by Felix Vallotton, Gustav Klimt, Egon Schiele or Frantisek Kupka for example. I can say my first shock was with Joaquin Sorolla and how his paintings seem so fluid and full of light. I have a lot of artists I look up to, and it’s all over the place!Īs painters, a lot are from the end of 19 th century, beginning of 20 th century. The rest is experimentation.Ĭould you tell us about your inspirations? If you could name some artists (contemporary or not) and Art Movements you’re influenced by. My main palette consists of a white, two yellows, two reds, two pinks, three blues, two greens, two browns, and a dark grey. I have a few colours that I always use, and from which I build on. I don’t like “dirty” or faded colours, and that’s why I never use black and I only keep the colours that I feel are deep, not too mixed and luminous. I tried more in-between tones to see the difference, but in the end only added the colors I couldn’t mix myself. I started with a box of six basic colors, and I kept with it pretty long before I started trying other colors. I am still quite intrigued by life painting, because it’s a completely different approach to how to look at something. So I need photography to capture the spontaneity of that moment. I tried a few times painting from life, but what I’m generally interested in happens in a brief moment in time. I think the hardest part is to know when to stop, but there is always a moment when I don’t want to work on the painting anymore. It took two months to complete, which is quite fast compared to my usual rhythm. I generally need a lot of time to think about the problems a painting is raising and how to solve them, but this one went pretty smoothly. Even if it is painful sometimes!įor this painting in particular, I was at my friend’s place and her baby had a bit of fever. I don’t like having things defined too well in the beginning, because I like to discover what’s wrong or right as I go along. I draw a pretty rough sketch on the canvas, and go from there. In both cases, I take pictures as reference, and I start painting immediately. Sometimes, I have an image in mind for a long time, that I have to bring to life, and sometimes I just happen to be in a situation that strikes me, and I think that would make a great painting. I think my creative process is quite instinctive. You can take the painting on the cover as a reference. It has become a bit of a pattern since I take a trip somewhere new, take a lot of pictures, and come back full of ideas.Ĭan you tell us more about your creative process- from the first idea to the final result? That’s when I started to paint with a certain palette that I still use today. So when I came back I started working particularly on trying to find the warmth and the light on the canvas. It reminded me of where I grew up, and how I missed it a little bit back in the Netherlands. Because I only started a few years ago, my painting is still very much in development.Īlso in 2018, I travelled to Spain, close to Cadaqués, and the sun and the light really struck me. So I think the change corresponds to getting more acquainted with the medium, and finding more of a direction to go with it. I always drew in my life, but I started painting with oils around 2017. We can see a clear change in your work between 20.Ĭan you tell us more about this evolution? and how did you reach that distinctive style?
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