Original Oil Paintings
Original painting title: Sussex Pond/Dew Pond Frame size 60 x 85 cm
Victoria Albuquerque 1969
Sussex Pond / Dew Pond
2021
Oil painted on stretched linen
Framed with wood painted off black
60 x 85 cm
The Identity Series
Starting in the summer of 2020, in the middle of the pandemic, I noticed I was wearing many different hats. Maybe it was the isolation, but I became so much more aware than I had been before of the different and distinct identities through which I was living. And then I saw that this was something that all of us do, whether as mum, dad, son or daughter, grandparent, employee, CEO, only child, brother, sister, student, gym buddy, yoga lover, friend, counsellor, carer... The list is endless. These identities allow us to understand ourselves in relation to others, and to our surroundings or activities. Identity also creates a link with our heritage and history, and the incomplete and subtle ways in which knowledge is handed down from one generation to the next. In my work this sometimes appears (or disappears), leading to questions about whether the image represents an observation from reality or a hand-me-down memory conjured by the imagination. Though we label our identities to make connection, in reality they are unique. In that way our understanding of what we see is also unique. Likewise, each brushstroke: hard, messy, smooth - is unique, so is the mix of colours, which can have subtle variations.
My art studio is down a mud track, off a tiny Wealden country road. As well as it being home to my studio, it is also home to heritage cows, a trickling pond, an Oast house, to name a few. As the pond is near the South Downs Way, I thought the pond was a dew pond; dew ponds are small, round ponds sited in hollows, made by digging a pit and lining it with clay. They're found in a few dry, hilly places, like the South Downs, where there's no water running down the hillsides. This is because the rock underneath the surface, mostly chalk, is full of small openings and water drains away underground. I have now learnt that the soil around my studio is not chalk and does not drain easily, it is clay, thick and muddy, holding the water as firmly as a glass. If the pond near my studio isn't a dew pond, then what is it and what shall I name the painting of the pond?
Recently I discovered that there was an old English recipe called Sussex Pond Pudding and giggling with delight as I felt that this was a much more fitting name for my painting. Sussex Pond was born.
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Original painting title: A Year of Washing Frame size 60 x 85 cm
Victoria Albuquerque 1969
A Year of Washing
2021
Oil painted on stretched linen
Framed with wood painted off black
60 x 85 cm
Shortlisted Jackson's Art Prize
The Identity Series
Starting in the summer of 2020, I was doing many different roles, which felt like wearing a different hat for each role. Maybe it was the isolation, but I became so much more aware than I had been before of the different and distinct identities through which I was living. And then I saw that this was something that all of us do, whether as mum, dad, son or daughter, grandparent, employee, CEO, only child, brother, sister, student, gym buddy, yoga lover, friend, counsellor, carer... the list is unique to each self, endless and constantly changing. These identities allow us to understand ourselves in relation to others, and to our surroundings or activities. Identity also creates a link with our heritage and history, and the incomplete and subtle ways in which knowledge is handed down from one generation to the next. In my work this sometimes appears (or disappears), leading to questions about whether the image represents an observation from reality or a hand-me-down memory conjured by the imagination. Though we label our identities to make connection, in reality they are unique. In that way our understanding of what we see is also unique. Likewise, each brushstroke: hard, messy, smooth - is unique, so is the mix of colours, which can have subtle variations.
At the start of this exploration, I painted a couple of paintings of straight washing lines; Blue Towel and What Would Happen If I Wasn't Here? I wanted to explore the different ways washing was dried. In 2021, I explored locally to find a different shaped washing line, this is where A Year of Washing was formed. I explored the contrast of an old listed building dating back to 15th century and a modern rotary which was designed to take a lot more washing at one time.
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Original painting title: Shelter Frame size: 83.5 x 43.5 cm
Victoria Albuquerque 1969
Shelter
2024
Oil on linen
83 x 43 cm
Handmade oak frame stained dark
RA Summer Exhibition 2024 theme 'Space'
This timber structure serves as more than just a physical shelter; it is also a symbol of solace and renewal. Its simplicity and solidity offer a person the sense of grounding amidst the turmoil of emotions. THe Chapel of St Peter'=on-the-wall, Bradwell, Essex
The quiet solitude of the shelter allows time to reflect on past experiences and find the strength to move forward with a renewed sense of purpose.
In this way, the timber structure becomes a catalyst for transformation. It becomes not only a physical refuge from the elements but also a metaphorical sanctuary for one's soul, providing the courage and resilience needed to embrace the challenges of the future and embark on a journey of self-discovery and healing.
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Original painting title: Drying Time Frame size 66 x 92 cm
Victoria Albuquerque 1969
Drying Time
2022
Oil painted on stretched linen
Framed with wood painted off black
65 x 92 cm
The Identity Series
Starting in the summer of 2020, in the middle of the pandemic, I noticed I was wearing many different hats. Maybe it was the isolation, but I became so much more aware than I had been before of the different and distinct identities through which I was living. And then I saw that this was something that all of us do, whether as mum, dad, son or daughter, grandparent, employee, CEO, only child, brother, sister, student, gym buddy, yoga lover, friend, counsellor, carer... The list is endless. These identities allow us to understand ourselves in relation to others, and to our surroundings or activities. Identity also creates a link with our heritage and history, and the incomplete and subtle ways in which knowledge is handed down from one generation to the next. In my work this sometimes appears (or disappears), leading to questions about whether the image represents an observation from reality or a hand-me-down memory conjured by the imagination. Though we label our identities to make connection, in reality they are unique. In that way our understanding of what we see is also unique. Likewise, each brushstroke: hard, messy, smooth - is unique, so is the mix of colours, which can have subtle variations.
In 2020 I painted a couple of paintings of straight washing lines; Blue Bowl and What Would Happen If I Wasn't Here? I wanted to explore the different ways washing was dried. In 2022, I explored locally to find a different style of washing line. I produced two paintings; one with washing, and one without. Shephard's Hut and Car was formed. There is something between the two objects, the Shepherd's hut that sits on wheels, made for the ease of moving around and a car, also on wheels, designed to move around too.
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Original painting title: Shepard's Hut and Car Frame size 66 x 92 cm
Victoria Albuquerque 1969
Shepherd's Hut and Car
2021
Oil painted on stretched linen
Framed with wood painted off black
60 x 85 cm
Royal Academy Summer Exhibition
The Identity Series
Starting in the summer of 2020, in the middle of the pandemic, I noticed I was wearing many different hats. Maybe it was the isolation, but I became so much more aware than I had been before of the different and distinct identities through which I was living. And then I saw that this was something that all of us do, whether as mum, dad, son or daughter, grandparent, employee, CEO, only child, brother, sister, student, gym buddy, yoga lover, friend, counsellor, carer... The list is endless. These identities allow us to understand ourselves in relation to others, and to our surroundings or activities. Identity also creates a link with our heritage and history, and the incomplete and subtle ways in which knowledge is handed down from one generation to the next. In my work this sometimes appears (or disappears), leading to questions about whether the image represents an observation from reality or a hand-me-down memory conjured by the imagination. Though we label our identities to make connection, in reality they are unique. In that way our understanding of what we see is also unique. Likewise, each brushstroke: hard, messy, smooth - is unique, so is the mix of colours, which can have subtle variations.
In 2020 I painted a couple of paintings of straight washing lines; Blue Bowl and What Would Happen If I Wasn't Here? I wanted to explore the different ways washing was dried. In 2022, I explored locally to find a different style of washing line. I produced two paintings; one with washing, and one without. Shephard's Hut and Car was formed. There is something between the two objects, the Shepherd's hut that sits on wheels, made for the ease of moving around and a car, also on wheels, designed to move around too.
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Original Oil Painting, Pilgrim: Framed 30cm W x 40cm H x 4cm D, ready to post
Victoria Albuquerque British 1969
Pilgrim
2018
40 x 31 cm
oil paint in board
Wood tray frame painted with Farrow and Ball Pavilion Grey
This is part of a series of daily paintings, divided to Sussex landscapes. I painted one everyday while listening to the afternoon play on Radio4, each one was given its name after the name of the play of the Day.
This painting ia capturing that moment when the impact of the view takes my breath away.
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Original oil painting, An Open Return: Framed 30cm W x 40cm H x 4cm D, ready to post
Victoria Albuquerque British 1969
An Open Return
2018
40 x 31 cm
oil paint in board
Wood tray frame painted with Farrow and Ball Pavilion Grey
Looking north from Firle Beacon, on the South Downs, Sussex
This is part of a series of daily paintings, divided to Sussex landscapes. I painted one everyday while listening to the afternoon play on Radio4, each one was given its name after the name of the play of the Day. I woke before sunrise one morning and found myself travelling south up to Firle Beacon on the South Downs. This area along the coast of East and West Sussex is celebrated and protected by its National Park status, celebrated for it's unique habitat for animals, beauty and nature.
I find that after walking to the top of a hill, the impact that view has on me is etched onto my soul.
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Original painting title: Blue Towel Frame size 60 x 85 cm
Victoria Albuquerque 1969
Blue Towel
2020
Oil painted on stretched linen
Framed with wood painted off black
60 x 85 cm
Shortlisted Royal Academy
The Identity Series
Starting in the summer of 2020, in the middle of the pandemic, I noticed I was wearing many different hats. Maybe it was the isolation, but I became so much more aware than I had been before of the different and distinct identities through which I was living. And then I saw that this was something that all of us do, whether as mum, dad, son or daughter, grandparent, employee, CEO, only child, brother, sister, student, gym buddy, yoga lover, friend, counsellor, carer... The list is endless. These identities allow us to understand ourselves in relation to others, and to our surroundings or activities. Identity also creates a link with our heritage and history, and the incomplete and subtle ways in which knowledge is handed down from one generation to the next. In my work this sometimes appears (or disappears), leading to questions about whether the image represents an observation from reality or a hand-me-down memory conjured by the imagination. Though we label our identities to make connection, in reality they are unique. In that way our understanding of what we see is also unique. Likewise, each brushstroke: hard, messy, smooth - is unique, so is the mix of colours, which can have subtle variations.
At the start of this exploration, I painted a couple of paintings of straight washing lines; Blue Towel and What Would Happen If I Wasn't Here? Both were painted from my own washing line.
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Original painting title: Firle Beacon 81 x 59 cm
Firle Beacon
2019
Oil on linen
81 x 59 cm
First Shown Landscapes of Identity
In the heart of the South Downs, where the hills undulated like the curves of a sleeping giantess, there dwells a tale. It spoke of a woman, a guardian of the land, whose very form was etched into the landscape, her silhouette a testament to the beauty and power of the earth.
Her presence could be felt in every gentle rise and fall of the land, her spirit intertwined with the very fabric of the hills around Firle Beacon, South Downs. From afar, the outline of the hills resembled the graceful curve of her hips and the elegant sweep of her legs, a tribute to her eternal watch over the land she called home.
Legend had it that the Lady of the Hills was born from the union of earth and sky, a being of pure energy and boundless wisdom. She roamed the hills with the grace of a gazelle, her laughter echoing through the valleys like the song of a lark.
But it was not just her beauty that captivated those who beheld her form; it was the sense of peace and tranquility that she brought to the land. In her presence, the flowers bloomed more brightly, the birds sang more sweetly, and the rivers ran crystal clear.
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Original painting title: Circle 51 x 51 cm
Victoria Albuquerque 1969
Circle
2019
Oil on canvas
50 x 50 cm
First shown Landscapes of Identity Exhibition 2024
In the mist-shrouded hills of ancient Celtic lands, where whispers of magic danced on the wind and the old ways held sway, there existed a tale. It spoke of a young maiden named Saoirse, whose collarbone held a power so ancient and profound, it could shield her from the darkest of sorcery.
Saoirse was born under the light of a full moon, her laughter echoing through the glens like the song of the nightingale. Yet, from the moment she drew her first breath, it was clear that she was marked by destiny, for upon her collarbone lay a birthmark in the shape of a crescent moon, a symbol of her connection to the otherworldly realms.
As Saoirse grew, so too did her understanding of the world around her. She learned the ways of the forest from the wise old druids, her keen eyes and quick wit earning her their admiration and respect. But it was her collarbone, with its mystical birthmark, that set her apart from the other maidens of the village, for it was said to hold the key to unlocking the ancient magic of their ancestors.
One fateful night, as Saoirse roamed the forest under the silver glow of the moon, she stumbled upon a band of dark creatures, their eyes gleaming with malice. With a whispered incantation, they sought to ensnare her in their web of shadows, to steal away the light that dwelled within her soul.
But Saoirse was not so easily subdued, for as the creatures lunged forward with gnashing teeth and grasping claws, she lifted her chin defiantly, revealing the mark upon her collarbone to the moonlit sky. And in that moment, a surge of power coursed through her veins, a power as ancient as the earth itself.
With a cry that echoed through the forest, Saoirse unleashed the magic that lay dormant within her, a force so pure and potent that it drove the creatures back into the darkness from whence they came. And as the first light of dawn broke across the horizon, she stood tall and unyielding, her collarbone aglow with the brilliance of a thousand stars.
From that day forth, Saoirse was revered as a guardian of the ancient ways, her collarbone a beacon of hope in a world shrouded in darkness. And though the years passed and kingdoms rose and fell, her legend endured, a testament to the power of courage, resilience, and the magic that dwells within us all.
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Original painting title: Dipping A Toe In 100 x 100 cm
Dipping A Toe In
2020
Oil on canvas
100 x 100cm
To celebrate the end of lock down in 2020, as a family we went swimming.
The sun was shining and the pool house was filled with noise of laughter and joy. All my senses seemed to be on fall alert, having not been swimming for a while, the held anxiety over the unknown, this swim was quite magical. Something made me stop and look across the pool, my 82 year old dad was standing with his toes on the edge of the pool. It felt like time stood still and I didn't see him as the wise, dependable father I knew or the loyal husband he was to his wife, or the service engineer with a life time of calculations to heat, cool and maintain humidity of precious spaces, nor was he the the jazz listener, or book reader, in that particular moment he looked just like a child, He had grin on his face that I had not seen for a while, a look in his eye, that mixed with the light that had cast golden shadows on to the scene.
It was shown at the solo show, Landscapes of Identity, where Joseph Constable, head curator of the De La Warr Pavilion lead me in an Q&A session about my art practice.
This is the first time that this painting has been available to buy.
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