“I have often painted with my fingers, form of like sculpturing the paint … I guess I have to have that variety of get hold of with my operate: I need to have to truly feel the components.”
By Tatty Martin | 01 Jun 2022
Josefina Ayllón is a self-taught artist centered in Rome. Working in an expressive impasto style, Josefina generates portraits of both of those recognisable and unrecognisable sitters. Many of her topics are fictional figures, and with a hefty software of paint and a daring strategy to brushwork, Josefina explores the pressure between physicality and the makebelieve.
Josefina sees color, texture and the relationship concerning the two, as a usually means of making depth. Oils enable Josefina to develop up texture and variety a painting surface area that seems tangible, or as she calls it, “a bi-dimensional object”. Josefina is new to Increase Artwork, and to welcome her to the platform, we lately caught up with her and learnt extra about her observe and journey as an artist.
How would you explain your model and the get the job done you create?
I paint expressionist portraits. My major focus is the colour and the materials. I guess that when searching at my perform one particular would say that the issue make a difference is the portrait, when in actuality I think about the paint alone to be the main character.
I think all paintings to be abstract, it is one’s career to decide whether or not to focus on the get the job done as one thing figurative or not. I have generally painted with my fingers, type of like sculpturing the paint, which is odd due to the fact I frequently take pleasure in observing the brushstrokes of numerous painters. But I guess I need to have that variety of get hold of with my work: I will need to sense the materials. I however paint the backgrounds with a brush, but for the figures, I need to crack the intermediation of the brush concerning my hand and the canvas. Also, the texture this way of painting generates has a various influence below the lighting, there is a considerably more substantial contrast among the figure and the ground. The character becomes even far more in solitude within just the composition.
Inform us a little bit about the inspiration guiding your exercise.
The inspiration comes generally from my within. It is really an unconscious instead than a conscious process. I consider that the do the job I build echoes the experiences I have lived and the cultural stimuli that surround me.
How do you go about deciding on the subjects for your paintings?
I usually paint imaginary people, specifically in smaller paintings. Or else, I use photos that I stumble upon from diverse resources as a setting up issue. Even so, I are likely to ignore about them once I am portray.
I assume that is why my paintings do not have a title. Even if I use a man or woman in concrete as a resource of inspiration, the moment I start off to paint, this will change into a completely various portrait. In simple fact, if the person and the portrait glimpse alike, I experience that in a way I have unsuccessful.
How has your apply evolved in latest many years?
A number of several years back, the portraits that I painted have been only about creating imaginary topics and my way of doing the job was variety of intuitive. But with time my concentration shifted to a little something a lot less summary. Even even though I continue to work in that way, I now use a far more figurative solution in some of my paintings.
Concerning the medium, in the course of my initially methods I painted with oils, but quickly I experienced to shift to acrylic paint because of to practical causes. However, when working with acrylics, it turned pretty evident to me that oil paint is significantly a lot more alive. It is an organic and natural product, coming from character, that elders with time. As a result a couple decades back I went back to painting with oils. Currently, I have been experimenting with oil sticks on paper, which enables me to deepen considerably a lot more on the gestures of my portraits.
What is an ordinary working day like in your studio?
My studio is located in the suburbs of Rome, so I just take the train every early morning to get there. I am not tightened to a certain schedule, but I are inclined to perform right up until 4 or 5 p.m. As my workspace is located outside the house of the town, I actually recognize the silence and the privacy that I have while painting.
Who are your crucial influences?
There are several artists that I dearly admire, even now, I under no circumstances considered them as acquiring a immediate influence on my function. To identify a few: Baselitz, de Kooning, Guston, Auerbach, Alice Neel.
Who are some Rise Artwork artists with function you are savoring at the instant?
Clare Thatcher, Karoline Kroiss, Barbara Howey
Are you working on any remarkable new initiatives?
I am at this time operating on a series in which I am portray lots of topics, each a single in two unique designs. Then I will get two diverse effects for every single portrait.