Louise Howard

What made you approach art and become an artist? (events, feelings, experiences…)

I’ve always had an innate calling to art. Ever since I can remember, I’ve always engaged in something creative. But painting has been the one constant I have always returned to, like an old reliable friend with whom I feel most comfortable.

What is your artistic journey, techniques and subjects have you experimented with?

Aside from painting which I got into as soon as I could hold a brush, I ventured into a few different genres of art, which included making jewellery, sculpture, a photography course at college and drawing in between.

My subject matter has generally always centred around the human form in varying contexts and incarnations. I am fascinated by the human condition and have always strived to translate the metaphysical complexities of humanness through my paintings. I focus mainly on faces through which I seek to depict emotions that sit on the heavier side of the spectrum. A sad or slightly dour expression is far more interesting a study to me in my work than a friendly and unaffected smiling face.

For me, the latter does not truly represent what it is to be a human, as the moments that give us these feelings are more fleeting

What three aspects differentiate you from other artists, making your work unique?

I’m not sure we can definitively say what three aspects separate us from the next artist. Every single artist will differ from the next to a greater or lesser extent.

I suppose it’s to what time that is when we can say there is a clear difference and allows us to feel unique in our craft. In my work, I incorporate both fine and abstract styles. The challenge is harmonising the two together so that the painting works aesthetically.

I used to paint solely with a fine art style but started slowly branching into the more unfamiliar territory of abstract, which I feel very liberated by. Now, I almost think that each class can only thrive with the presence of the other in my pieces.

Where does your inspiration come from?

We, as a study, are indeed one of the fascinating subject matters.

My inspiration comes from every human being I have seen or engaged with. I continue to capture the elements of particular qualities or emotions we, as people, can embody in my work.

What is the intent of your art? What visions, sensations, or feelings do you want to evoke in the viewer?

My art intends to engage and interest the viewer visually. I’ve never tried to presume an agenda or impose any explicit message or meaning in my works. I don’t think it doesn’t hurt my business to dictate what you, as the viewer, see when you look at my paintings. I believe the viewer must decide what they are looking at and conjure their narrative and feelings.

I paint what I paint because it means something to me and resonates with me and the knowledge of that allows for the creativity to be fully explored. I also don’t think it is the business of the viewer to know the innermost workings of my brain and for me to bear my soul for all to see. If I were to expose my feelings and concepts behind my work, the work would not be unique, it would not be mine, and it would lose its power as a piece of art because the foundations on which it was created would not be pure, organic and honest. They would be spoiled.

What is the process of creation of your works? Spontaneous or long preparatory process (technique, inspiration from art classics or other)?

I usually always start with the fine art style, which takes the most concentration and time. This part offers more freedom and creativity and allows me to take the piece wherever I want. Once I am happy with completing this part of the painting, I work around the fine brush strokes to create harmonious abstract ones.

What techniques do you prefer? If yes, can you explain it?

I don’t necessarily favour one technique – fine brush strokes vs abstract brush strokes, over the other as both have their merits and offer their rewards, both in process and visual effect. And each is as integral to the painting as the other.

Are there any innovative aspects to your work? Can you tell us which ones?

Perhaps not innovation but something I like my work to be recognised for is my technique of incorporating both abstract and fine art. It’s not always an easy process, and one I am eternally trying to conquer with each painting.

Do you have a format or medium that you are most comfortable with? If yes, Why?

Oils are my paints of choice. I like how the paint moves around the board, and the slower drying time allows easy manipulation of the paint.