Q & A with Heidi Fourie

Q & A with Heidi Fourie

Q & A with Heidi Fourie
Q&A with HEIDI FOURIE

Presented by SALON NINETY ONE

1. Historically, the majority of artists seem to focus on one major theme or subject throughout their careers. Do you have any preferred or recurrent subject matter that you tend to revisit in your practice?

I tend to follow where current curiosities guide me although an inevitable recurrent theme or thread seems to be our relationship to nature, a rejection of rigid straight lines of urban indoor existence, perhaps a yearning of organic form and pattern. I look for things around me that already look like brushstrokes and try to capture them in as few brushstrokes as necessary.

2. Which season do you find the most inspiration from as an artist?

I collect most of my reference material in the summer. Our customary annual long hike takes place during the summer holiday. Water lends itself perfectly to the distorting powers of paint. Long days and time spent in and around water and amongst foliage supplies me with dazzling imagery.

3. What is your preferred colour palette at the moment?

Bright oranges, Indian Yellow, Indigo and Perylene black.

4. What would you say makes your style identifiable and unique?

Like the characteristics of a person’s handwriting inevitably shows more prominently when they write fast, a spontaneous painting, painted with energy and flow will automatically be distinctive of one’s hand. Experience with monotype had a great influence on how I paint as I developed a method of priming boards and mixing liquids to flow in a particular way and continue to flow for a while after being placed.

5. Is there anything you wish you knew about the art world 10 years ago?

That it is comprised of human beings driven by human experience, human hopes, and human desires.

6. What’s the most valuable lesson you have learnt on your journey as an artist?

I’ve learned that every painting doesn’t need to make perfect sense or be substantiated by a rational explanation. I always worried that the shadows, perspective or narrative wouldn’t make sense, but I realised painterliness helps suspend disbelief. I try to not over think things, which can be a hurdle to starting a painting. Paintings can be like dreams with multiple associations or possible explanations and the laws of physics don’t apply as much.

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