DAS Member Interview - Yvonne Pettitt
Yvonne Pettitt
Yvonne, how did you become interested in painting?
I have always been interested. Making marks is primal. One of my first memories in national school is copying the teacher drawing a 3d cottage on the 2d blackboard. The magic struck, never left, but growing up I never felt it was a viable career. Culturally Vis Art was the gate lodge to the big house of Literature, this phrase was coined by the great conceptual artist Brian O’Doherty and resonated with me. He was referring to how he had studied medicine first…one of the three main careers at that time. It was of course worse for women…
Do you have any art training?
I completed the CPD Diploma in Painting and Drawing, RHA in 2020 and subsequently Resolution in Painting, 2024.
I studied academically in Paris and worked as a chef for a couple of years before I decided life was too short not to follow your heart. I adore Art and its History, the academic side of art you could say, but always was conscious of the need for an income stream and carried on with a post grad year in Arts Administration, UCD.
While raising a family I gravitated back to academia working in the Education Department of UCD of the Hugh Lane Gallery often in conjunction with UCD. I tutored Modernism Art and Utopia for UCD.
Family gone, my journey redirected and I gravitated back to my yen for painting.
Now I paint everyday, it is my practice and I would feel anxious/lacking/uneasy if I miss a day or so. Some people like to do yoga, some like to paint. There is certainly a therapeutic element to the practice in that it focuses my mind on content and technical issues, but it is much more than therapy. For a supple muscle memory, I believe it needs to be a daily practice. Furthermore the complexity of Painting and its place in the contemporary world requires a rigour and intellectual engagement, while navigation of the art world requires self belief, tenacity and really liking people and actually painting too. For me both the practice and the interaction with people is fun; ie absorbing and rewarding. To that end, I am so delighted to be on the committee of DAS. And together with President Laura Truman we interviewed renown Artist and Director of The Irish School of Landscape Painting, Susan Webb. Susan’s father is Kenneth the founder of DAS. You will be able to read my interview with Susan very shortly.
What other artists do you enjoy?
I paint alla prima and there are so many I admire. French Plein air tonal painting for atmosphere. Van Gogh for colour, calligraphy, same for Roderic O’Conor. I admire Steven McKenna for colour and symbolism (although he ran through many ways). M. Phil. TCD.2011.
There are many amazing contemporary artists such as Sinead our outgoing President. Many of the RHA painters are very good while I really admire painters such as Kate Beagan, Dave West, Steve Browning..
Does creativity run in the family?
Yes it definitely does, my mother Maureen Pettitt was a science teacher, then airhostess, then mother of 6 before taking up painting with The Blue Door, she continued to paint exhibit and teach for the next 40 years. My sister is a gardener; my brother Ian is an amazing painter. However, I think everyone is creative in different ways.
Can you describe your artistic process?
Wet into wet.
Block in and really try to only touch again once or twice.
I aim for the really big shapes holding back – knowing where I am going to go. I jump in with colour relationships…lots of adjusting and figuring out as I go…often I overwork but sometimes I get it right.
I aim to get the tonal value right for the feeling of the painting within the colour losing the drawing element but the structure has to be there. Composition is a key element also.
Application; I aim to express a feeling of excitement of that translation of nature/person into paint.
What inspires you to paint?
It is hard to say what inspires me to paint. It might be the colour of the sea and the light on it. It might be the view from my bedroom window first thing in the morning or the challenge of trying to capture a persons likeness in a portrait.
Recently l had a perfect week of painting at the Dublin Plein-Air Festival, where the views were inspiring and the weather was great for a change.
Tell us about your Medium and why you choose it?
Oil on canvas – linen preferably.
Oil on aluminium for the backlight luminosity.
I love its history and its properties, translucent pigments, textures, the way it glides off the brush, there is nothing like oil on beautiful linen or aluminium.
What inspires you to paint?
This relates to subject, as well as interaction with paint medium.
I paint traditional landscape, still life, people. The how of the painting is also a big part of the subject as it creates a sense of feeling and takes it away from photography, from drawing the literal reference.
Humans project emotion and meanings onto nature and objects, light, dark, composition, proportions, colour and textures are expressive means for these interpretations of what we see in the world around us.
What does a perfect day painting look like for you?
If I am plein air then a perfect day is to have 3 or 4 hours in front of my subject before the light changes. If I am in studio it is to have a longer session with a break. I love life drawing or painting in front of the model. It’s a fascinating experience, from the model to the pose to the canvas.
Any DAS memories?
I am a 2024 new member and delighted to be on the committee to be with other artists and for camaraderie. DAS is growing and developing into a dynamic group of artists showing once or twice a year and holding events such as paint sessions and talks.
The highlight for me was showing at Farmleigh’s Cowshed. From the moment we met with the curator Maria O’Hanlon, it felt like and environment that supported art and all in the middle of trees and fields. I think as a voluntary group we all bonded and really got to know one another though spending time together in such a beautiful location.
I also enjoy the committee meetings held in the United Arts Club another institution steeped in history of art in Dublin.
Any daily rituals before painting?
I cycle most mornings before painting. And I walk my dog at the end. Endless cups of tea and coffee at 11am. I have a studio and I keep it for painting. I try to keep it in order but….I don’t. I try to keep in stock of canvases and paints, I always wash my brushes at the end of the day.
And I try to keep on top of admin of which today there is lots.
I also like to paint with others and often paint with fellow member Ken Jennings. I life draw/paint with the Schoolhouse Enniskerry.
Facebook: Pettitt Yvonne
