Artospective: Figurative Paintings by Vicki Sullivan from Australia.

Waiting in the Old China cafe - Oil on linen - H120cm x W90cm.

An Interview with Vicki Sullivan.

Who and where are you from?

I grew up in Sorrento, a small seaside town on the Mornington Peninsula in Victoria Australia .

How you got into this?

My grandmother painted and always encouraged us grandchildren in our creative pursuits. Her motto was if a child is interested in something foster it. I was always most drawn to the realist paintings I saw, and really longed to learn how to paint like that? It seemed like magic to be able to paint something so well.

My longing to learn traditional old master methods led me on a search to find teachers who were skilled enough to teach the traditional painting skills.

When I was young I studied at Frankston Technical College, now Chislolm which was a wonderful basis for learning about lots of different art mediums. I went on to University but realism was discouraged because it was unfashionable so it took me a long time to find teachers who could teach the knowledge which I longed for. I found private painting teachers Brian Armstrong and Fiona Bilbrough who set me on the right path to realism.

My artistic journey led all the way to Florence Italy where I was able to spend some time studying at the Angel Academy of Art with Maestro Michael John Angel. It was the most amazing experience learning the methods of the Old Master which are still taught in Italy. Drawing from the life model every day drawing long pose academic drawings of the model in 3 hour sessions for 27 hours really helped my observation skills.

The course also covered anatomy, composition, colour theory, Art history and many other useful subjects. Skill is highly valued at the Angel Academy of Art and several Art Academies which teach figurative realism are based in Florence, all teaching to an extremely high standard. There are sadly very few places in Australia which teach similar methods, except for the Julian Ashton school in Sydney which has been around since 1890.

What is your driving force?

It is hard to explain my driving force but I suppose it is a striving for excellence, I know there is so much more to learn and I want to improve my skill base so I am able to paint the subjects I want really well.

I do have a strong work ethic, you really have to put in the hours and train your eye to improve your work so I get up and work every day at least six days a week.

What kind of work you do and why?

I like figurative painting, so people are my main subject. I often like to invite my subject for lunch and I try to have at least two sittings with them. That way I can get to know them a little in a relaxed way, eating lunch is always a great atmosphere to unwind and also gives me the time to study the structure of the head, skin tones and the character in the hands.

Having lunch is also a way to get to know the personality of the sitter and get ideas for a pose or gesture for the painting. I like to discuss my ideas for the painting as well and make sure the subject is comfortable with it too.

I like my Portraits to look as if the person could walk straight out of the painting and into the room so acute observation is important, to make the painting look like the person. Also I like to create a narrative in the painting by using objects or clothing which may relate to something in the person’s life which tells a story or adds detail about them.

I absolutely love creating something from scratch and then the moment comes when you start really Getting the essence of a person, they start evolving out of the canvas and it is a very moving moment for me. Also the moment when the subject and their family come to see the finished painting is really wonderful, I have had quite a few family members cry tears of joy.

I feel so lucky to do the work I do.