Let’s Talk: Teresa Oaxaca

 

by  Poppy Field  I  digiQualia.com

I can recall the moment I met the artist Teresa Oaxaca with absolute clarity.

It was October 2013.  It was the end of my first week at The Florence Academy of Art. And I had just arrived at my first student soirée, trying not to look too puffed out from climbing more stairs than I care to remember.

There Teresa stood, with iPad in hand, holding court. Captivated students crowded close by. From a distance I could not see the images of paintings that flew across her screen… rather I wondered if she were some kind of Baroque-born yet Victorian-dressed apparition. For she wore a tailor made gown with a tight corset and full skirt. Her hair was piled atop her head with whispy tendrils running down. 

Teresa Oaxaca with a selection of her paintings.

Teresa is a force. She traces her unmatchable drive back to advice received from the artist Jacob Collins. Quoting Edison, he told her that success is just 10% inspiration and 90% perspiration.

And, art was always her ambition. Having seen a calendar of Michelangelo’s works, Teresa would ‘daydream about [the] Sistine Chapel Frescos' whilst still in Kindergarten. With access to ‘watercolour, drawing materials and sculpey clay’, her childhood was spent ‘drawing, painting and sculpting from imagination’. This was not an academic interest, but her ‘identity’. An identity which many of her friends and classmates were unaware of.

Girl in Pink by Teresa Oaxaca

Teresa’s academic pursuit began when she was just thirteen years old. The Metropolitan Museum of Art was holding an exhibition of Leonardo da Vinci’s works. Teresa came across a selection of his sketches in a newspaper and from that moment, wanted to learn ‘everything’ about the Renaissance and their methods.

So, in 2005, at the age of seventeen, Teresa moved from Washington D.C. to Florence, Italy. She began her traditional training at the Angel Academy of Art and later continued at The Florence Academy of Art. All the while, her weekends were dedicated to the study of anatomy as she committed our internal structures to memory. 

Adam by Teresa Oaxaca

With this unrelenting determination, for which she is well known, Teresa even spent one summer holiday apprenticing with the renowned Odd Nerdrum in Stavern, Norway and upon graduation studied with Robert Liberace at the Art League in Old Town, Alexandria.

Dutch Still Life by by Teresa Oaxaca

Since returning to Washington D.C, Teresa has been developing an unprecedented portfolio. Described by Jeffrey Carlson as ‘nostalgic, colourful and unmistakable for their presence’, Teresa’s consciously elaborate compositions are evidence that a traditional academic training does not pigeonhole an artist to the past.

In fact, Teresa’s artistic voice has become so strong that she is now sought out specifically for her style. She recognises that the very act of commissioning a portrait is a leap of faith and so, once the pose and scale have been agreed, Teresa prefers to take complete control thus ensuring that she remains true to her artistic vision. 

Born during a Carnivale by Teresa Oaxaca

Everything Teresa owns can be found within her studio and informs her work. Her daily dress, in past historical fashions, was born from the desire to ‘feel at one with [her] artistic inspirations.’ She also collects a range of objects such as antique dolls, skulls and Venetian masks for the ‘art eras or ideas they may represent’ and inspiration they offer.

Plague Mask by by Teresa Oaxaca

 Therefore, each patron’s heirlooms, be it costumes or props, provide new, unexpected inspiration and make for a unique image. Even the sitter ‘occupies a space’ in Teresa’s mind. They will take tea together, Teresa’s current favourites being Orange Pekoe and Pu-erh, so that she may capture more than just a physical likeness.

Although often intimidating at first, Teresa finds that commissions can be incredibly rewarding. However, a word of caution. Teresa’s advice to us less experienced artists undertaking first commissions is to focus on portraits alone – even if you are capable of more.

Cronin Sketch by Teresa Oaxaca

Teresa is particularly drawn to antique dolls for a variety of reasons. From the existence of such figures from the ‘very roots of human civilization’, to their ‘variety of purposes’ and for the range of ‘expectations’ with which they were bestowed.

The Party by Teresa Oaxaca

 And more specifically still, because Teresa’s collection of dolls from the 1800’s have ‘witnessed the 19^th century’: a period of art that she holds most dear. This perhaps is most evident in her Jumeau doll from 1879 whose face was modelled by the renowned sculptor Carrier-Belleuse!

Doll Maker by Teresa Oaxaca 

 Yet, the ‘things’ that Teresa truly values are those that are rightly unobtainable such as ‘particular cities and cathedrals, beautiful parks and landscapes.’

Unsurprisingly, travel ‘fuels’ Teresa’s art. During a four month ‘entirely self-guided’ tour of Europe, Teresa was able to study Old Master paintings that she had previously only read about. She also visited as many antique shops and churches as possible; often finding that ‘the sound of an organ coming from within was enough to stop [her] in her tracks’. Adamant that there is always more to learn, Teresa has continued her training by making sketches and reproductions of masterpieces in situ.

God with a Putto by Teresa Oaxaca

On her journey through Europe, Teresa visited London, Brussels, Hamburg, Luneburg, Copenhagen, Eksjo, Stockholm, Mora, Gothenburg, Lund, Malmo, Berlin, Prague, Kutna, Hora, Vienna, Budapest, Switzerland, Florence, Venice, Munich and Amsterdam. After weeks of working furiously in the solitude of her studio, this trip allowed Teresa’s ‘brain to restart’.

In the future Teresa hopes to visit Poland, Southern Germany and Austria in search of Late Medieval Retables as well as spending time in Italy and France. However, if she could visit any museum with any artist it would be the Petit Palais, Paris with Aime Nicholas Morot, 1850-1913, of whom so little is known. There hangs his ‘masterpiece’ The Good Samaritan.  

Since returning from Europe, Teresa has had the confidence to ‘load the palette with more paint and experiment with a great variety of edges and paint textures’. Her work is about ‘pleasing the eye’ and she delights in ‘unusual pairings of subject matter.’ With recurring motifs of cherubim, dolls, clowns, still life and the exploration of portraiture, neo-baroque and chiaroscuro, Teresa’s works are unified by her confident rendering of form, line, gesture and structure. 

Standing Pierrot by Teresa Oaxaca 

 Teresa hopes that one day she will be able to share her knowledge and experiences with generations of younger artists. It is her ambition to build a studio ‘which would double as a home and living quarters for apprentices in the future.’ With well over 6,000 followers on Instagram and more than 3,000 friends on Facebook, finding willing candidates will not be a challenge.

However, Teresa maintains that on the grand scheme of things ‘artists have become marginalized.’ That they are ‘consulted less on important matters like exhibition installations, art acquisitions and curriculum planning.’ That we are witnessing a decline in art being commissioned for the ‘public sphere’ and this is directly related to ‘poor urban planning and the creating of unliveable and unenviable spaces.’

Sleepwalkers by Teresa Oaxaca

 So, Teresa is fighting back. Just last month, she undertook an ‘intense’ live painting demonstration at the Principle Gallery, Alexandria which was also broadcast online. Using the sight-size method, Teresa spent four hours painting before an audience of ‘artists and art appreciators, children, and families, and people walking in off the street’.  Teresa also strives to make her work accessible through social media, posting regular updates detailing her materials, techniques and process in her online Drawing and Painting Journal. It’s certainly inspired me!

If you would like to find out more about Teresa and her work, watch digiQualia’s recent interview by clicking here. 

Night Scene by Teresa Oaxaca

Lets Talk: Brian Booth Craig

 
by Poppy Field I digiQualia.com

Amongst figurative sculptors Brian BoothCraig is a household name.

Every aspiring sculptor at The Florence Academy of Art knows of Brian’s work yet few have actually met him. And, although his website lists an impressive array of exhibitions, projects, teaching posts and literature, very little is known about him. Until now…

In this blog, Brian unveils: the defining moments of his career and a rare a glimpse of his working method.  He offers advice to aspiring artists and ponders over the question: “If I were not a sculptor, what would I be?”. Want to know the answer?  Then read on to find out more about Brian Booth Craig.

In a January blog post, I wrote about the World Wide Web and the opportunities it has created for artists. Brian is a living, breathing example of online success. How did we in Florence first become aware of his work? Facebook. So here it is, straight from the Horse’s Mouth:

Surprsingly, Brian hasn’t always wanted to be a sculptor: “The decision to be a sculptor came somewhat late for me. Up until my early twenties I primarily studied drawing and painting. However, I found that I had an affinity and facility for sculpting at University, so I entered the sculpture department. The training was mostly conceptual and technical, with no consideration for the figure.”

After this Brian spent one year training in anatomy and modeling clay at the New York Academy of Art. Though that was the extent of his formal training, Brian has never stopped learning. “Intense observation of nature has been my primary teacher, followed by a close study of past masters and contemporary sculptors.”

One such contemporary is the pioneer of photorealism, Audrey Flack. Brian reflects that time spent working as an assistant to Audrey and other artists was exceptionally valuable. “It teaches one how to run a studio, how to deal with clients and the pitfalls of making public art. The experience exposed me to the dilemmas artists face when creating public artwork, and it has helped me define the work I want to make.” 

Today, Brian describes his work as a synthesis of many approaches. Rather, than conform to a singular or linear method, the configurations of these are adapted to each sculpture.

“I work from life, imagination, photographs, casts, anatomical knowledge, historical antecedents and the work of my peers. My working method requires a good memory of form, but I have closely observed human form for many years, so my imagination plays a role at every stage of sculpting. I have a mental catalogue of human forms that is informed by nature, anatomy and sculptural conventions, and which permits me to visualize possibilities and variations as I am working.”

Unlike most sculptors, past and present, Brian also casts his own works.

Brian strives to make every sculpture ‘his’.  Having studied the fundamentals of foundry techniques at University, he is able to apply this knowledge in his own studio.   “I like having control over the process of finishing a bronze, and connecting the creative decisions to the production process. I try to be as engaged as possible through the making of each bronze so that my hand is truly in every piece. I am not sure if this means anything to collectors, but it matters greatly to me.”

However, bronze casting is a lengthy process. In order to create more work, Brian hopes to one day implement his plan of supervising studio assistants during the bronze production.

Brian also dreams of creating a large sculptural fountain in an urban setting. “The marriage of sculpture and architecture has mostly dissolved, and the divorce of the two calls for a reconciliation. Public work that intelligently and creatively merges the two art forms would be very attractive to me.”

Personally, I believe Brian will achieve these goals and much, much more. In growing as an artist he has made innumerable sacrifices, especially with his time. “I have limited my social life and I make great investments of time and money for my work. It is a challenge, but I see no other way to sustain a creative life without a willingness to make sacrifices.”

Brian’s dedication to his work is unquestionable.  So, I was not surprised that his advice to aspiring young artists was to work very hard: “Be prepared to make sacrifices. If you are more interested in partying and playing the role of artist than going into the studio, then you probably are not going to be able to sustain a creative life”.

He also recommends finding employment that is in someway connected to the art world: artist assistant, art handler, gallery assistant, teaching, etc. “Try to be connected to the lives of other creative people. Be willing to help your peers. Don't just be a taker, but assist your colleagues.”  Wise advice indeed and something I, along with many of my contemporaries, am trying to do.

Finally, Brian stresses it is absolutely essential to “ feed the creative urge every day, even if it is just thinking about one's work, discussing it with someone, or preparing your materials for the next free day in the studio.”

For those of us keen to learn, it is indeed fortunate that Brian considers himself a sculptor who teaches:

“Because my identity is artist first, it is necessary for me to be entirely open and giving to my students when discussing my own experiences, otherwise my contribution will be limited to classroom methodologies and techniques”.  He enjoys his interaction with students and believes that it is his responsibility to pass on his knowledge “beyond simply teaching a formula for making objects”.  His goal is to cultivate individual visual thinking: “I love it when a student surprises me with their solutions, and makes something I would never conceive.”

In fact, Brian considers that artist-teacher roles are mutually beneficial: “Teaching forces me to articulate and analyze processes and concepts that become habitual and non-verbal. This recapitulation keeps me from becoming stale or thoughtless, making me question my own routines.”

So, what would Brian like to be if he were not a sculptor?  “Unemployed!”  Well, I can’t see that ever happening … can you?

Brian may be across the Atlantic Ocean teaching those oh so lucky students at the Lyme Academy College of Fine Arts in Connecticut BUT his wise words are here to be shared in studios throughout the world. 

“Social media is a vital career tool for every contemporary artist, especially emerging artists. The Internet has changed the way artists get exposure, and the gatekeepers have yielded some of their power because of the democratizing effects of social media. Emerging artists who do not employ these outlets are at a big disadvantage. It connects artists to each other and to a larger public. I have found it a wonderful tool for expanding my awareness of the art world, and keeping myself engaged in conversations about contemporary art.”

With this in mind, I look forward to writing about Bridgeman Art Studio - due to be launched next week!