ARTIST FOCUS 117 – BRIANNA VORON

Welcome back everyone, in response to your emails and your messages here is another female artist. I love the variety I keep selecting at the moment and yet, myself and the artists I am selecting are producing inspiring answers and quality work. That is no different for this weeks; Brianna Voron from Arizona, USA. Vorons work is influenced from history to nature to sexuality and you can really get a feel for the personal touch she brings into her work too. From the colour palette to the subject in her work it is all an emotional formula for an alluring aesthetic. Vorons attention to detail and focus on always adding that personal touch is highly admirable. She creates her own frames and that is not an easy task, but a great skill to have as an artist; the frames compliment the paintings and just adds that extra piece of quality to the finishing product. Additionally; I get a very strong feeling there is a lot more to these paintings and every single one has a detailed explanation, a vision, maybe even a history behind it, these paintings are connections; connections between humans, or humans and nature. That is what I find so peaceful about her work, calming and serene. Superb work Brianna and keep it it up, I’m looking forward to seeing your work evolve. As always, the interview with Brianna is below, please comment and share.

 

 

 

Long Summer Days
Oil Paint on Panel
11”x14”
Float Framed in Ash

 

 

Brianna in her studio

 

 

Who are your favourite artists? What makes them stand out to you?

I have so many favorite artists past and present! I think my current favourite is Helen Frankenthaler. She had such a simple approach to art making. It was all about process, colour, and the pleasure of subjective beauty. A few others that have influenced my work greatly are Ferdinand Hodler, Edvard Vuillard, Maynard Dixon, and Emily Carr. A few of my favorite living painters are Polish mural artist Sainer and German painter Rupricht Van Kaufmann. Both are absolute geniuses with color, light, and narrative.

 

 

Montezuma’s Castle
40” x 70”
Oil Paint on Canvas
Framed in Cherry
2019

What is the process for your paintings?

My process usually starts with a trip to my local lumber supplier. I am a woodworker as well as a painter, so I build all of my canvases, panels, and frames custom. I love having a hand in every little detail from start to finish. It also means I can ensure that my paintings are made with the very best archival materials. I have even begun making my own paints and experimenting with different blends of medium and pigment. Sometimes I think I’m more interested in the physical experience of pushing paint around and using my hands than I am in what comes of it.

What is your preferred medium you use?

Anything at hand really! Lately my preferred has been whatever is the easiest clean up and dries the fastest. I have been doing a lot of traveling and plein air painting. Recently, I’ve been exploring acrylic for the first time as well. But I am always painting with oil paint in studio for my commission work and large-scale paintings on canvas.

 

Rose
Watercolor and Ink
19”x25”  – 2015

 

 

What is your opinion on the art market at the moment? Do you find it a challenging industry? What do you like about it? What do you dislike?

This is a very loaded question! My opinion is constantly changing as I spend more time in it. The internet has made it so easy for anyone to be accessible to a wide range of buyers, that gallery representation is almost unnecessary. I am currently not represented and I have been able to make a modest living on my own through my growing social media following and my website. Honestly, I have yet to have a positive experience with a gallery. But I know that there are some really fantastic galleries out there, and I have just been in the wrong places at the wrong times. I think one day I will find one worth the relationship. On the whole, I like where things are headed, so I’m just working hard and staying connected.

 

 

DONT BLINK

BRIANNA IN HER STUDIO WORKING

 

Do you have any advice for artists wanting to be represented by galleries or any advice for any one beginning their art career?

Since I’ve never been represented, I can’t offer much advice in that area. One thing I can say from having enough bad experiences is that it’s ok to be selective at the beginning. Often young artists can get too excited and jump into something they haven’t thought through just because a door is open to them. A gallery is a business at its core with overhead and monthly quotas to meet. They have to take a significant cut of the profit from your work in order to thrive. Be sure to discuss things thoroughly and openly before proceeding to any kind of professional relationship long term. Even for short featured shows, make sure you read the contract inside and out. One time I had art displayed in a fine dining restaurant and a small framed drawing was stolen right out from under their noses. Unfortunately, I had failed to read the fine print and found that I had signed to take full responsibility for damages and losses. Had I known what I know now, I would have renegotiated the contract before signing or passed up the opportunity entirely. Finally, be confident in your pricing (gallery or no gallery) and don’t be afraid to mark it up in order to get what you believe it deserves. You don’t want to end up resenting the gallery for the commission they take from your sale. It’s important that you both get what you need. Galleries can be really, really great when they do their job well! It’s a delicate relationship and it’s built on trust. Also, these days it’s not actually as necessary a step to take. Which is an even better reason to take your time in finding one.

 

 

Did you study at art school? If not, where did you study and what?

I received a Bachelors of Fine Art in Painting at the Herberger Institute for Design and the Arts at Arizona State University in May 2015.

 

Landline
Oil Paint on Canvas
20x28in
2018

What inspires you in your work?

I’m very inspired by nature, music, history, and literature. I used to make almost illustrative work that was directly informed by some text or a song I liked. Lately, this inspiration has been coming more from my physical surroundings. I like the mundane, and seemingly uninteresting things that happen every day. The way a shadow crosses a room throughout the afternoon or how car taillights can turn a tree’s leaves red in passing. It’s almost not about anything in particular. Just a passing moment that stood out from the rest for some reason. And the process! I just like making. I started cooking recently and sewing. It’s just so good to be working with my hands. There’s a conversation that I like to always be having between my brain, my hands, and my heart. It’s very literally down to pleasing those three.

 

 

How do you manoeuvre through your industry?

I try to adapt and learn as much as I can because it’s changing constantly. I’m also learning more and more about business and economics. It’s forced me to be more aware of local and federal politics. I am a small business owner. Art is my life and livelihood. So I try to care for the two in different ways. If I’m not mindful, I can get burnt out very easily.

 

Desert Giant
Oil Paint on Canvas
Framed in Walnut
19”x24” – 2020

Do you have a routine on a day to day?

As a small business owner, I have to wear so many hats. Each week looks different depending on what deadlines I have coming up. In a single day I’ll often start with the administration side of things like emails and finances, and move to finishing up a project in studio or in my wood shop, to editing marketing content to post on social media, and somehow manage to feed myself and workout. It is a lot! Sometimes I’ll divvy up my week so that each day is spent on one area of my business in order to help me focus better. It has gotten easier as I have gotten better at time management and organisation over these past two years.

 

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