Artist’s Statement

November 14, 2011 in General

I have added an Artist’s Statement to my Bio page.  I will be exhibiting a few pieces of my work in the  A+Art Committee member exhibit at Okaloosa Walton State College next spring.  The committee functions under the umbrella of the Cultural Arts Alliance of Walton County (Florida), selecting artists and organizing shows in the lobby area of the South Walton OWSC business office about 4 or 5 times a year.  This year was our first year, and we decided to avoid any appearance of self-promotion this first year.  But several members of the committee are accomplished artists, so we decided to have a show of committee members’ works for a couple of months next year.

Following is my Artist’s Statement, at least for today, 11/14/11.  No doubt it will evolve.


Joan Vienot – Artist’s Statement

The greatest pleasure for me as an artist is the capture of the present moment, a little piece of Now.  The challenge is greatest when the subject is the human figure, where the length of a pose is limited by the live model’s ability to remain motionless for any duration. Very little time is available for retractions or corrections, so my marks on the paper have to be certain and authoritative.  Every pose is a challenge of my mastery.  Similarly, plein air painting requires intense focus and present moment awareness in order to execute a scene before the light changes radically.  In both cases, the subject must be portrayed in fairly general terms, with only enough detail to lend unique identity and a bit of atmosphere.  I rarely do anything more than minimal correcting, or perhaps heightening of contrast, when I get back to my studio, preferring to let my interpretation of the moment stand on its own.  My approach might result in what some may call mistakes in proportion or perspective, but I think accuracy should be subordinate to my effort to convey the essence of the subject in a short amount of time.

When time is so fleeting that I could never capture something in either dry or wet media, then I resort to my camera to produce a photograph, which of course records the quintessential moment in time.

My favorite subject for drawing is the human figure.  People’s lives and experiences create lines on their faces and sags on their bodies, and their posture bears witness to their youth or to their years.  The nude figure in particular, with the façade of clothing removed, reveals the essence of a person’s physical existence and might even hint at her spirit.  Most of my figure drawings are of females simply because most of the models I’ve had opportunity to draw are female.  My figure drawings are very simply my personal expression of the beauty and complexity of the human form and my efforts toward mastery of that expression.

The Figure Artist’s Shell

November 3, 2011 in Figurative

First, some blatant self-promotion — if you will “Like” my facebook page and share one of my posts, it will greatly improve my fan base.  Right now my exposure is a little puny.  It may be because I am practicing figure drawing, which is the subject of this blog post.

Some people are not comfortable with the nude figure.  It is more accepted in some cultures, certainly more so in Europe than in the United States.  In many areas of the world, it is not at all unusual to see bare-breasted or nude people at public locations like the beach.  But in the United States, many people are taught that the body is to be hidden, some even associating it with shame, others merely with privacy.  Many years ago, I remember when one of my drawings was accepted for a juried show when I attended the University of Northern Colorado.  My drawing instructor told me that my wildly expressionistic and colorful drawing was not selected for technical merit, but rather for the sheer expressive quality.  The subject was a dancer, drawn in bold strokes of bright reds and greens, with charcoal contours defining the figure.  I had actually attended some modern dance classes where I was allowed to sketch the dancers, and that drawing was from one of those sessions.  The figure was neither clothed nor unclothed in the drawing — it was simply gestural, to reflect the dynamic movement of the fast-moving dancer.  But I remember when I brought it home, and proudly showed it to my family, one family member told me that I should be ashamed, that it was nasty.  It was not the first time that my art had not been received exactly how I expected, but I had already by that time grown a shell, so while the comment is one I will forever remember, it did not stop me from pursuing my favorite subject, the human figure.

Other areas of the world readily display nude sculpture and paintings.  But here in the U.S., we are a little more prudish, distinguishing “non-offensive” art as “family-friendly”.  Public institutions displaying art might refuse to display nude pieces because they want to be family-friendly, because children seeing nude artwork most certainly will be corrupted.  More likely, they need to keep their more conservative benefactors happy, so they are reluctant to take risks.

In our weekly figure drawing session a couple of months ago, a woman from England brought her talented 13-year-old son to participate.  Clearly he was practiced — this was not his first time drawing a nude model.  Shock of shocks, instead of having some puerile, voyeuristic interest, he behaved just like all the other artists, immediately and matter-of-factly diving into his drawing.

The stigma is so pervasive where I live, in rural Northwest Florida, that it was a long time before there was any nude figure drawing available on a consistent basis.  In the not-so-distant past in fact, the sheriff was called to shut down previous efforts at one gallery.  Even now in my area, even with the sophistication of the people now living in the beach area which has been developed over the past 30 years, out of the 40-some good-sized galleries between Destin and Panama City Beach, Studio b. in Alys Beach stands alone in offering regularly weekly figure drawing sessions with a live nude model.

Working from a human figure is unlike any other subject.  A tree for example, will be very forgiving if you draw a branch coming out of the trunk at a different angle.  The figure on the other hand will look grotesque if you draw an arm coming out of the trunk at the wrong angle.  There are certain articulations that joints can do, and the viewer’s eye will notice if it is incorrect even if they can’t consciously put their finger on it.  If an artist wants to put people in his art, it is essential that he practice figure drawing, if he wants them to be convincing.  There are a number of artists in the area who use figures in their work, who might benefit from more practice.  Just saying…

Not everyone is comfortable with nude figures — I recognize that.  At least now, if someone is uncomfortable with my work, at least to my face they just give a tepid response if any, and not outright condemnation.  To a great extent, I think that people who have been exposed to the nude as an art form, view it as a thing of beauty, and the more they are exposed to it, the sooner they can let go of the nasty or shameful interpretations they may have been taught to associate with nudity.  When we see all things as having beauty or at least a correctness in all stages of their existence, then perhaps we will care for our planet and its life forms with more reverence.  My figure drawings are very simply my personal expression of the beauty and complexity of the human form and my efforts toward mastery of that expression.

Most of my images are available for purchase.  Contact me if you are interested. — Joan Vienot

Drawing a Clothed Model

August 4, 2011 in Figurative

Figure drawing artists usually work exclusively from nude models.  But this week at Studio b., I had the good fortune of being the only artist.  So I had my choice.  Interestingly, the model had brought tennis gear, and was planning to use it in during the warm-up drawings — he thought we might like the added purposeful action.  So I asked him to wear the tennis clothes and keep the racket nearby for the entire session.

It’s so much easier drawing a clothed model.  I can draw the clothing with an extra wrinkle here or there and no one is the wiser.  You can’t do that with a nude figure without it becoming grotesque.

The model sat for me for 30 minutes for the drawing at left, and we took a short break, and then he sat for me for another 15 minutes.  I like this drawing.  I drew the white with Nupastel and the dark values with graphite, on gray Stonehenge.

The drawings below are two of the warm-up gestures, the second one obviously a longer pose than the first, and the third is the top part of the last drawing of the evening.

Most of my images are available for purchase.  Contact me if you are interested. — Joan Vienot