Marks that Make the Figure: The Dynamic Impressions of Annabel Hill Loureiro

In the build up to contemporaries, we visit the studio of Annabel Hill Loureiro and chat about her inspirations as an artist.

Blue Motion, 2017 | Charcoal and Pastel | 74 x 99 cm | £850

Blue Motion, 2017 | Charcoal and Pastel | 74 x 99 cm | £850

What do you do?

I love to create figurative work and life drawing people on the streets.

What is it about creating the human form that is appeals to you?

I have always loved life drawing and just feel like I relate to figures within a setting. In the past I used to work in film, TV, and theatre industry and it probably stemmed from there. I used to do prosthetic make up and stuff like that, so I am very used to working on the face.

So you have worked with the narrative of people in scenes and their body language?

Absolutely, and I also love costume and that side of things, so I suppose that is where it has come from. But mainly faces; portraiture has been quite a big role in the past.

Do you paint from life?

I prefer to; that is another thing, I get very inspired by being in places and my husband is from Brazil, just north of Rio.

Do you go out there much?

Yes and the beach is the place to be - all the figures in my beach series are inspired by Brazilians at the beach. I get inspired out there, I can find London quite difficult. I do love the South Bank, but I try to make it not so obvious that I am there, so more abstract.

Beach Walk, 2015 | Mixed Media on Wood | 91 x 91 cm | £1,100

When you say not so obvious do you mean the scenery or the people themselves?

Both, it’s the same with my life drawing, I like to work in a loose expressive way.

What is it that you are trying to get an essence of?

The movement of the figure and interesting shapes that occur within the form.

Which artist would you say is your biggest influence?

Jenny Saville.

Why?

She just creates fantastic figurative work, she’s a great painter, very free. I like a lot of the stuff she is doing now, possibly more than her older work.

I like layering and shadow drawing. You know, it doesn’t bother me, the more mistakes you have underneath the better the work.

That’s the character.

Exactly.

Lying Nude, 2016 | Pencil and oil paint on paper | £850

Lying Nude, 2016 | Pencil and oil paint on paper | £850

When did you decide you wanted to be an artist?

At school I suppose, and then I went to art school and it ruined it for me.

Which art school did you go to?

St Martins.

What course did you specialise in?

I did graphic design and illustration and it wasn’t good for me, I should have done fine art really, or theatre design.

In the Sea 201 |.Mixed Media on Wood | 91 x 91 cm | £1,100

And why was that?

It was at a time when computers started to come into play, and it was a very masculine course, I was quite shy and it was quite difficult to fit in. It was all about letters and graphics and that didn’t interest me at all. I stuck out the whole thing and did really well out of it, surprisingly. Then I went to India and was once again sketching on the street, I loved all of that, a bit of a cliché really - and Bollywood, all the mad colours!

How long have you had your studio now in Wimbledon?

About four, five years now. I love it here, the other artists are inspiring and such nice people.

What are you hopes and aspirations for your art?

To like what I do! That is a big one, I would like to do more painting which I find a bit of a struggle, hence why I am doing a lot of mixed media and collage, I am much more comfortable monotone. My works for Contemporaries are oil stick, hard pastels, oil paint, soft pastels, acrylic, everything. I am more of a drawer than a painter and so I am much more comfortable with mark making using pastels on wood, rather than brush on canvas

Annabel's figurative artworks will be exhibited in CONTEMPORARIES this June 21st - 25th at the Old Brompton Gallery, in Earl's Court.