Daniela Vincenz’ series of portraits “Global Faces“ was very well received during the vernissage „TRANCE“ on 15th September. The expressive, large-formated paintings evoke emotions, tell stories. Stories of strangers that visitors write themselves. Who is the person in the painting? What are they thinking? Where do they come from? By the playful story spinning, every single piece of art becomes a highly personal experience.
Behind the artworks stands Daniela Vincenz, a very special artist from Switzerland, who, although reluctant to be in the limelight, is still a very interesting conversation partner. In an interview, she talks about her creative process, her inspirations, her favourite painting techniques, as well as her motivation to commit herself to art.
Mrs Vincenz, what is your approach to the creation process? Do you usually work with models or do you first create templates or sketches?
Since the process of creating an image sometimes takes several weeks, I cannot work with models in flesh and blood. Also, my portraits are fictitious people who are constantly changing, changing and getting a different expression depending on my mood.
Do you occasionally use models (for example from print media) that inspire you?
My basics are the daily impressions that I sometimes capture with the camera from my mobile phone. Furthermore, I let myself be inspired by magazines, books, brochures ... in short, all the visual impressions that touch me.
Which tools do you prefer to work with?
On the one hand, of course, I use all the classic tools such as brushes, sponges and spatulas, but also some of which I’ve developed myself that make the application of the colors unique.
Do you exclusively use acrylic paint?
At the moment, yes. But I also have some mixed-media paintings in which I mixed water-based oil and oil pastels. Painting is a constant process and experimenting with new media is very important and extremely exciting to me.
Do you work on one or more works at the same time?
In the initial phase I often work alternately on two pictures. But as soon as I'm about to finish, I can only focus on one picture to get the maximum effect.
How long do you normally work on a painting?
This is very different and completely dependent on whether the chosen motive suits me, which unfortunately only turns out during the working progress. Sometimes I get to the desired result within a week. Then there are pictures that demand a lot from me and have to be painted over and over again. This can sometimes go on for several weeks, some will never be finished ...
When do you know that a picture is finished?
Ha! The question of all questions! That's the hardest thing for me ... There are paintings, only a few, unfortunately, where I know from one second to the next, that it is done. But most of the time, I feel that the work is complete but then, I always find a place in the picture that I want to revise again.
Which artists inspire you? Do you take certain painting styles or approaches as a model?
The artist Niki de Saint Phalle, as a strong female character in art. Mogliani with portraits, but also contemporary artists like Malcom Liepke, Harding Mayer and many others inspire me again and again. The list is long.
When / how did you find your painting style as it is today?
I’ve been painting as long as I can think. The style in which I paint today, I have developed over many years and it will certainly develop even further.
Did you attend art schools or workshops or was it an individual development ("work in progress")?
My art is always work in progress. Every now and then, I've attended schools and classes, learned some techniques and applications, but I've found my own style of painting all on my own.
What feeling determines you when you reach for the painting tool?
All the feelings of a day. I always paint, no matter what emotional state I am in.
What do you want to bring to the canvas? What is your motivation?
Creative work is an urge that I have to give in. Art is my life and my identification. I try to bring whatever I have seen to the canvas and merge it in with my own fantasy and then, I try to paint it realistically but still in an abstracted form.
Do you have a specific painting concept that you follow?
After I already see the picture in my head, I put together the color concept and mix all the colors I need in advance. Then I create a rough outline of the picture and apply many thin layers, almost like two-dimensional modeling.
Can you imagine working with other color media and tools, or have you already done so?
I am curious about new things and can imagine working with everything. There are many techniques and media I want to try. Experimenting is very important to me.
Can you imagine working with bold colors and clean lines?
I love the infinite variety of mixed colors. The many nuances of colors between the pure primary colors is what I find exciting. I call them the colored colorlessness.
Do you have a different relationship with nature than with people? How does this work if you want to bring them to the canvas?
My favorite motive is the human, mostly the woman. However, nature motifs are no less demanding than the human body or a facial expression. It may even be more difficult to add tension to the picture.
What role do women have in your art? What do they stand for?
In terms of portraits of women, it is much easier for me as a woman myself to bring feelings and expression into the picture, to reflect myself.
And finally: What do you want to evoke in the viewer?
Identification! A positive feeling! Especially in portraits, the expression should touch the soul of the observer and they should lose themselves in it or maybe even recognize themselves.
Thank you for the interview.