This is Brighton Art Fair's 20th anniversary and it is back and better than ever www.victoria-albuquerque.com/newsletter.html Don't be deceived by the image, you have not missed t he Fair, it only a model of stand 37 at the Art Fair. I spent hours painstakingly printing out tiny, little, to scale, images of my paintings and played with the curation and layout. Do you like the model flowers in a vase? I am show casing my current work which explores 'identity' and the uniqueness of ourselves. Like artists David Hackney, Edward Hooper, Georgia O'Keeffe, Euan Uglow and Richard Diebenkorn, my paintings celebrate composition, using prime colours and observations skills, I to pay attention to the colours that are warm or cool, and when applying this technic, the finished painting has a more 3-dimensional feel to it. OK enough of the behind the scenes - here is the good bit I have 2 for 1 tickets to give away - sign up to my mail list for the 2 for 1 ticket code, link at the top of this page.  In my last newsletter I told you about my longlisting for Jackson’s Art Prize 2024.
Out of 15,500 enteries, I and 469 others were chosen, which created the Jackson's Art Prize Longlist. Everyone on the longlist asked their community to vote for personal favourites. Thank you for taking the time to vote for ‘A Year of Washing’ – I know it wasn't the easiest thing to do! When I look at the longest, I see amazing quality art, I am honoured to be to be a part of it. Sadly 'A Year of Washing' did not make it to this year's People’s Vote. I am excited to announce that A Year of Washing is now available to buy as a print, clink on the image above to be directed to FINE ART PRINTS page. This is one of the questions that I am exploring during the artist talk for the private view of 'Landscapes of Identity' on Wednesday 5th June 2024, at Gun Brewery, Gun Hill, Heathfield 17:30 onwards, with the talk at 19:00.
What are my primary sources of inspiration when making work? To start to unpick this question, I looked back over my work. My aunt, Lita Albuquerque, who is an international renown artist of many years advised me to document my work and thankfully I listened to her. When I started I thought it was a waste of time, mainly because it is not half as much fun as the creativity itself, but I diligently did it and now I am sp grateful. It allows me to contemplate the direction I've been heading in and to assess the implications of current, as well as future work. It is also a great way to stay in touch with what the art-making ultimately means to me. It is not for public publication, only for my individual use. When I look at these documents, I am instantly struck by the difference in my work that was before and after I changed from being only a landscape artist, to not giving myself this as a set boundary. At the same time I also started learning more about colour, colour mixing and I stuck to the practice of using a limited paint palette. This limited palette is:. French Ultramarine Blue - warm blue Phthalo Blue - cool blue Permanent Alizarin Crimson - cool red Cadmium Red - warm red Lemon yellow - cool yellow Cadmium yellow deep - warm yellow I can proudly say, that I can make most colours with a mix of any of above, including titanium white and Phthalo green. Inspiration can come from anywhere, different art forms, visiting galleries or museums, reading books or articles about artists, engaging with other artist. At the same time, remembering to expose myself to new ideas because other peoples' creative work can spark motivation, importantly to me is the peer reviews I have with other artists. Mainly, I find myself coming back to a very close circle that is my inspiration, it is my family, my experiences and myself. But I can only do this if I slow down, reflect and trust. Slow down - I do not see or hear the inspiration if I am busy or fast Reflect - I need to constantly pause between responses and actions Trust - if I don't trust, I don't find the reason to paint
It is a good feeling being seen as an artist and being chosen for exhibitions is one of the ways to be seen. Next part of this journey is to meet with my framer and have a creative discussion on how to complete this painting. Once framed it will go to London, probably under my arm and Ill drop it off at the gallery.
|
AuthorI am a professional painting artist, with a passion for space, shadow, colour and balance - constantly pushing forward to express more of what I see and feel visually. Archives
September 2024
Categories
All
|
RSS Feed
V i c t o r i a A l b u q u e r q u e A r t
|
W h a t o t h e r s s a y
|
|
Contact me via my mobile on 07900 117525
via e-mail on [email protected] studio address West Street Farm Studios Gun Hill Heathfield TN21 0LA East Sussex Shipping Returns policy Format Private Policy |
“I love the intensity and depth of Victoria’s work”. Phillippa Craddock - critically acclaimed florist, celebrated for her appointment to the Royal Family, helping celebrate the wedding of Harry and Megan.
|
“the tenderness in Victoria’s paintings – they make me want to stay with them and become part of them. They are intensely intimate and heartbreaking beautiful.”
Elizabeth Roberts - Editor, Black+White Photography Magazine. |