In the studio with Venetia Berry
“I want my work to convey an essence of femininity within its curves and abstract shapes. When making my work, it is important to me to think of the everywoman, transcending race and size, creating something that is inclusive to all” — Venetia Berry
Venetia Berry is a London-based artist who trained at The Charles Cecil School in Florence, followed by The Leith School in Edinburgh and then The Royal Drawing School, London. An accomplished oil painter and portrait artist, she also creates work that is whimsical and dream-like. With a particular interest in the female nude, she paints the figure through an abstracted lens, simplifying the form using pure line, or reduced mark-making. Venetia's work seeks to reverse the male gaze by challenging the archetypical sexualised female nude. Her distorted and elongated forms play with feelings of illusion and trickery. There is an ambiguity to her work which invites the viewer's imagination and own interpretation.
Courtesy of Venetia Berry
What do you do when you’re struggling for inspiration?
If I have the time I will go to an exhibition. I am lucky to be London based so I have countless shows at my fingertips, although I still manage to find myself going to most shows during their last days – they always seem to go on forever and then I check the dates and they are closing tomorrow! If I don’t have the time I love my collection of art books, I can just flick through my Matisse cut-outs book and get lost in his genius use of colour.
Do you follow a routine or any daily rituals?
Every day can be different, but my perfect day in the studio goes something like this – I like to get in fairly early around 7.45. I get to the studio and the first thing I do is a meditation. I learnt to meditate last year at the London Meditation Centre and it has hugely helped me with my mental health. Then I will have some breakfast and a coffee and listen to Radio 4, check my emails and my list of things I need to get working on. At 12.30 I go to yoga just 5 minutes from my studio. Every day is different so I may be working on a new painting, on a commission, anything really. I tend to work on one thing at a time, as opposed to working many paintings at once.
Do you listen to anything whilst you work? Music, radio, podcasts?
I love podcasts, Radio 4 and listening to audiobooks. These are great if I am working on fairly repetitive work like painting on pottery, but if I am working on a new painting I need a bit of silence to keep me focused. I do love listening to music too, it totally depends on my mood.
How has your art education effected your work? Initially your training was quite classical, focussing on portraiture, how and why did you develop your style into abstraction, line drawing and the female nude?
I started off working in a very traditional manner at Charles Cecil out in Florence. Then when I studied at Leith School of Art in Edinburgh I continued to work from life, but in a far less traditional manner, we were encouraged to let the paint take on a life of its own! When I studied at the Royal Drawing School I learnt how to etch, which fundamentally changed the way I worked. I began to think more about what the work would look like, as opposed to striving constantly for a likeness in whoever I was painting. I began to take inspiration from some of my favourite artists like Egon Schiele and Matisse, drawing nude female forms from my memory and imagination. It wasn’t until I was working like this for about a year that I really sat down and thought about why I might be working in this way. It is now so clear to me that my lived experience as a woman has had such a huge impact on my work. My work now aims to disregard society’s expectations of how a woman should look, celebrating womankind and opening up the conversation around anxiety and mental health.
Who inspires you?
I get most of my inspiration from other artists’ work. There is nothing I love more than going around an exhibition (by myself is my preferred experience!) and letting the work absorb my total concentration. My favourite artists are Matisse, Frankenthaler, Kusama, Jenny Saville, Picasso, Hockney, Giacometti, Jessalyn Brooks, Rose Electra Harris, Lisa Brice, Kahlo, Agnes Martin, Miró… the list goes on!
Courtesy of Venetia Berry
Courtesy of Venetia Berry
Do you enjoy using social media? I know that’s it’s been a great way for you to reach people as that’s how I found you! It must be an exciting way to express yourself and your work, but do you ever feel the pressure to constantly create for it?
Instagram has been amazing for artists; there is no doubt about that. But, yes, I am always worrying about creating something new. We live in such an instant society and creativity works a lot slower than the demand sometimes. I would never create work just for Instagram, or for a particular trend. I think it is so important to stick with your gut feeling. It can be a bit of a stab in the chest if I have been working on something for weeks and it gets little traction, but these works are so different in the flesh and hopefully people will get to see them in real life when I exhibit.
How important to you think it is to make art accessible to every level of collector?
So important! It means so much to me if someone my age has saved up for a work and really loves it. I work a lot with Partnership Editions, whose ethos is exactly this. Gone are the days of being intimidated by a gallery with no prices on the walls.
My favourite piece of art is a painting that you did for me a couple of years ago, which was given to me as a birthday present, it hangs above my bed and makes me smile every time I look at it. How would you like people to feel when they see your work?
I am delighted to hear that! I want people to feel a sense in innate femininity within my work. I want people to rethink their expectations of themselves and realise we are so much more than our bodies. A bit of an F you to society and how they have made each and every one of us feel at some point that we aren’t good enough.
You use and have experimented with various mediums; painting and pottery. Are there any others you would like to explore?
Yes! I love learning and I am always looking at new courses to do. I have recently done an embroidery course and am looking into more sewing courses I can do. I would love to work more with sculpture and pottery too. I love printmaking and am always on the lookout for courses too.
What do you like to do when you’re not working? Your perfect day in London?
I tend to work a fairly ‘normal working hours’ week so I can have the full weekend off. I love having a lie in on a Sunday, and a long breakfast – preferably over the Sunday Times (it is really the supplements I am after though!) My boyfriend and I usually go for a walk around Brockwell Park to Herne Hill market for a wander. Then go to a pub and meet friends for a few drinks. Go out for a pizza or pasta and go home in time for a Sunday night film!
Do have any advice for artists/creatives starting out?
I always think it is best to stick with your gut in terms of what your work is about. There is only one you and you will be the best at it, so there is no point trying to be someone else. Also, keep doing courses and learning in any way you can. You never know who you will meet on the course or what you will learn.
What does 2020 have in store for you?
I am currently planning my fourth solo exhibition later this year – watch this space!
My photo of my birthday present by Venetia – September 2018