A Head for Fashion – Anna Halldin-MauleArt , am 04. Oktober 2011 in
Anna Halldin Maule, geb. 1972 in Schweden, ist eine große Künstlerin. Sie malt photorealistische Bilder und arbeitet im Maule Studio auf Hawaii mit Ihrem Mann Tom, einem hervorragenden Fotografen, zusammen.
Ihre Serie „A Head for Fashion“ wurde weltweit mit Begeisterung angenommen und publiziert. Fashion ist ihre Obsession, in ihren schönen Werken verbindet sie eine Idee mit der Mode in der heutigen Gesellschaft.
When and how did you begin to see yourself as an artist?
I have always loved art and painting since I was small. Growing up in Sweden I would look up tom my grandfather, who was an artist, and think – „I want that“. He made me realize it was possible to do what you want and live dream.. When I met Tom and moved to Hawaii in 2002, I went from painting in my spare-time to painting full-time, and I guess that’s when I was fully an artist.But I think I always was, just doing other things. Sometimes it is easier to do something safe and dream, than going for it and risking failure. Meeting Tom was the kick in the pants that I needed.
How would you break down your workflow in steps?
I always start every piece by getting small details on canvas in a thin underpainting, a monochrome. Then, layer by layer the painting takes shape. It is a slow process, very labor intensive. It’s rewarding to see things come to life. A bracelet can be sitting on its own on the canvas, almost like it’s 3D. Then the hand, the arm, the figure comes in and grounds the previously floating bracelet. In the end I balance the painting, since colors will shift when you put one color next to another. That balance is so important, and I do not feel a painting is done until I have achieved that. I love details, and I always strive to get them perfect.
How has your work evolved over the years from when you where beginning?
Before I moved to Hawaii I would paint whatever I felt like at the moment, still life, abstracts, nudes… I wasn’t very focused. After the move I tried to direct my energy into becoming more cohesive in my work—to stay with a particular subject. I always loved to paint fabrics and the human form and somehow that is how my Hawaiian series of paintings started. Women wrapped in pareos and draped with flowers. Very colorful, very tropical. But over recent years I’ve moved back to the colors I grew up with, the grays, the blues—muted tones. I tend to use a very small palette of colors, usually not more than 10— I feel that creates a better harmony in the painting. My love of fashion now plays a huge role in my art and the newest paintings reflect this change. I want them to be beautiful and visually-arresting, but also funny and quirky with a hint of commentary as well.
Photography is the basis, how important is this for your works?
With Tom behind the camera and me working directly with the model, we work together to get the best photographs possible. I then go through the photos and select the one which most strongly represents my vision. This is the image which I’ll refer to as I go through my painting process. Photography plays an integral role in my painting process, but I’d like to stress that in no way do I paint over photographs. I also do not airbrush. The photos which Tom and I take are strictly used as my reference material.
How is an idea born? For you, what is inspiration?
I get inspiration from movies, fashion, magazines, photography. I can hear something in a song that I think is great and base an idea around that, or I can read a book that inspires me. When we travel, Tom and I love to visit museums and of course I can’t help but to be inspired by the artists that have come before me. A recent trip to Stockholm left me reeling with new ideas. Tom and I will often bounce ideas off each other, and through discussion (sometimes heated) we can come up with something that makes for a good starting point for a photo shoot. Once we’ve assembled the model and props, things will sometimes change and something unexpected and sometimes even better comes out of it. Usually I have a firm idea in my head of how I want the painting to look, only to do the shoot and it all changes. You learn to expect the unexpected.
What is your next project?
I usually try to focus on the work at hand and put all my energy into that. Once a painting is complete, I’ll shift my attention to what is next. I can be a little superstitious when it comes to talking about future work—I feel that it loses some of its magic when I do, and I want to keep that. (It’s like I jinx it somehow). But I can tell you this—it will involve fashion!
Aloha kaua – Mahalo!
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