The Art Edge: Interview with artist Danielle Richard - Part 2
Média: Site web
Nom: The Art Edge (Brian Sherwin, Art Critic)
This is Part 2 of my interview with artist Danielle Richard. Click here to read Part 1.
Brian Sherwin: Danielle, can you tell us a little about your art studio... and offer some more thoughts about your artistic process in general?
Danielle Richard: I rented a large studio where I worked from 9 to 5 for years. The space was great due to the privacy and the discipline of working with a regular schedule. As I mentioned earlier, I have five children... once my children had grown I decided to set up a studio at my house. It is a smaller space -- but I no longer have to drive in order to work. Everything is there. I mostly work during the day hours.
I don't have a definite idea when I start the creation of a painting. That said, composition is a major starting point for me. I find myself attracted to the composition first. I try to achieve the strength and impact of that composition. Working from a certain distance to always keep the big picture in focus, is major for me. I take time to really look at the painting as I work... a process that is extremely helpful in order to see if it all works together.
BS: So you don't have a specific image in mind when you start a painting, correct? In a sense, you work out the composition as you go, right?
DR: I trust my instinct and imagination to bring my work to the final result. Indeed, I think that a good artist should have confidence in his or her own perceptions and tastes. The questions that I often ask to myself are: ''What do I really like?'' and "what really moves me?"... that is very much a key part of my process as a painter.
BS: I've been asking various artists about their experiences with art associations and art societies... have you been involved with any specific art-related groups? What is your opinion of professional artist groups in general?
DR: Affiliation with an art association is certainly a plus. It gives you support and insures a form of presence on the art scene. I have had the opportunity of showing my work at The Butler's Institute , Chicago via the Portrait Society of America; I can share tips with members of Cécilia Beaux Forum as well. I am informed of major contest and become eligible for awards. It's important these days to stay informed with what happens in the art world... these groups can help an artist to stay informed.
Art associations have also contributed to a better sharing of technical knowledge which was harder to obtain in the past. I am able to access to a world of information; I can observe the artworks of brilliant contemporary artists too!
BS: Would you suggest that artists should strive to join as many art associations as they can?
DR: Not unless they want to spread themselves thin. I must stress that it is important not to be involved with multiple groups at once. You will place yourself, and the various groups, at a disadvantage if you are not able to take information in efficiently. I would suggest being affiliated with at least one that you truly respect and that will bring you tools that will help you to go further with your work and career.
BS: You have a lot of experience with art exhibits. Do you have any tips that you would like to share with our readers?
DR: When possible, try to concentrate on a theme for your art exhibit. Having a dedicated exhibit theme will help you to develop the deepness of your perception and contribute to establishing a new ''repertoire'' of ways to express yourself. It will also help to facilitate new angles of view, if you will. The impact of your exhibit will certainly be stronger if you have a theme in mind.
BS: I agree with you concerning the importance of having a clear exhibit theme. That kind of solid focus can also be helpful with marketing the exhibit AND artwork. Speaking of art marketing... do you have any art marketing suggestions that you would like to share with our readers?
DR: I think participating in art competitions can be helpful with art marketing. For years I didn't participate in any art competitions or contests. I've only recently started to explore the potential. I realize now that art competitions, especially if they are won, bring recognition to my career. That is something I can use to market my work in addition to exhibiting and other factors. When your work is included in a group of serious painters, it is very stimulating. I should have started exploring this a long time ago!
The best art marketing tip I can offer is to make sure that you have an online presence. You certainly need a website with nice photographs of your artwork. Linking your website with your blog and social networking sites, such as Facebook, makes for a good art marketing recipe!
BS: I agree that having an online presence is important -- at the least, it serves as a form of 'here and now' documentation about your life as an artist. With that in mind, how do you want to be remembered as an artist?
DR: I don't want to get too 'cliché' but, I would like to testify of the beauty of the world and try to contribute to embellish it. I want future viewers to be moved as I have been moved. I translate into images the singular moments which I witnessed during my passage... and hopefully that may help others with their life journey.
BS: In closing, do you have any final thoughts that you would like to add concerning your artwork?
DR: I would like to share these sentences written by a gallery owner and art critic, Brian Marshall Schieder, talking about my artwork:
''It is her consideration for the inner life of a subject, the spirit of the painting, which breathes life vividly into the final work setting Richard apart from other mere realists. These are paintings of great intelligence and sensitivity and importantly works of compassion and understanding. Nowhere is this more evident than Richard's studies of children and of motherhood.''
''Her works serve as a reminder that great strength has its beginnings in tranquility and that the most lasting dialogues we will have are those within ourselves.''