An Interview with Marianne Seabright

Marianne Seabright, a successful and gifted artist, is invited to talk about her artistic influences, her practice as a painter and as a member of Sarah’s Monmouth Life Drawing Class.

Born in Hertford in 1977, how did your Art related education begin?
My education started as a child- much to my mother's dismay I drew on the walls in our home, in family books, on my skin and on my clothes, particularly dresses.
My Grandfather Henry Seabright was an Artist and Illustrator, although I never had the chance to meet him, I grew up with many of his unfinished paintings.
My Dad, Robert Seabright is an Artist/Graphic Designer and he taught me to draw and encouraged me to paint. He took me to the London galleries and surrounded me with the Masters. He told me I had a talent and I should keep a portfolio and go to art school. I actually qualified to do nursing instead.
However, after nursing for 3 years I found it hard to ignore the urge to do creative practice and enrolled on a part time foundation in Bristol; this led to a degree in drawing and applied art at UWE. I believe I made more of art school as a mature student. I went there when I was 30 and I was awarded a First.

Has your approach as an artist changed since you were involved in the ‘Institutional’ environment of learning?

Institutional learning trains you to become an independent, self reliant artist. You learn to harness your creativity and focus your strengths. At Art school you are encouraged to push boundaries and explore everything, there are no limitations, sometimes it can be confusing and you wonder if you are wasting your money. But when you finish, you reflect upon it for years after. However, in the commercial world it is not the same as being at University - it is harder to survive. Just because something is pushing boundaries doesn't mean it is good.

Yes, my approach has changed. I can do what I want now. I don't have to worry about grades or assessments. I still reflect critically about my work. I think about what the tutors said or might say but now I do it for me and no one else.

How would you describe your style in a maximum of five words?

Textural, Tonal, Tangential, Empathic, Atmospheric- Marianneish.

You believe you are instinctively born with a 'stick' to a 'brush'. With this in mind, explain why your current work leans towards paint ie a brush.

I was born with a stick but I am determined to adopt a brush. I lean towards paint because I am trying to push myself. Paint has a wider vocabulary and the possibilities are endless. It is exciting and difficult. I don't like easy paths, struggle is good.

You are able to turn your hand to any medium, which one do you struggle with the most? Which one do you find more natural?

Drawing is more natural.

With regards to paint- generally oil is easier than watercolour because you can wipe it away. But it depends on my mood and the subject matter. Sometime I see something and immediately think 'Watercolour'- and I do it- like magic. Then I think, how did you do that Marianne?

Are you a self taught painter?

I learn by looking, I read books, look at other artists and ask my Dad about things.

Why is colour important to you?

Colour relationships are fascinating and the possibilities are infinite. Sometimes you can put two or three colours next to each other, the viewer will know you are describing skin or water. There are common recipes and formulas that work well. There is so much to learn. I think that colour is a combination of science and psychology.

What does the figure provide for you as an artist, which for example animal life excludes for you?

I love both but animal pictures are dangerous territory. My landscapes look dead.

I take figures more seriously for some reason. I like how humans hold themselves, their weight and curves. How they behave, how they age, what happens to their bodies when they graft hard, or sit in the sun too long or when they get too fat. Human psychology is more obvious than animals, their bodies are an extension of their psychology and it is interesting to study that.

It is important that you know your sitter or figure in the composition? What changes for you if you do not know them?
No, that is not important. Sometime it is harder to draw someone you know. But I always feel I know someone better when I have drawn them. Attachment is a theme that runs through my work. So I think about the person I am drawing or who I am drawing the picture for. If I don't know the person I am drawing I may be less attached to the finished painting.
Should the sitter talk to you whilst you are drawing them or painting them?
Yes. It is interesting to hear their stories. Their history is part of their portrait. I am listening and absorbing it and it is going it and coming out in the marks I make.
As I learn more about the sitter it helps me build a picture of their life, thus building a stronger attachment to them, which consequently will make a better subject matter. I want to paint all my friends and family- but not everyone will sit for me though.
Within the subject of figurative art or portraiture, what does a Life Room add for you?
Creative energy and atmosphere of the life room, helps me focus and work hard. It seems so natural to me, there is nothing like it, it is better than chocolate cake.

Is nudity or the Nude important to explore?
Not really, I think the nude is about studying and understanding the anatomy- but I don't draw the nude to study anatomy.
I go because of the opportunity to draw someone in real life who stays still. I feel really privileged to be able to do it and find it has really helped my figure work. It has helped me improve the use of form in figure-work .
How do you choose your colour in the Nude? Your palette choice on flesh tones?
I look at the tone of the skin and match it with colour. However, I know that our bodies are made up of a large % of water, and water reflects light and colour. Skin is transparent and colours from our insides must be coming through the skin. I think about skin damage too. I also use artistic license and portray good colour relationships. I try not to worry too much about the right skin tone. Form is more important to me.
One thing at a time.
You are sitting in a Life Room and the session will be beginning in a few minutes; do you have a goal of results to complete for the session? How much mental preparation do you give yourself or you feel you need to give to yourself?
Not really. I enjoy the process as much as anything else. I tend to not enjoy it much if I am too worried about the end result. If I get a good end result its magical.
As soon as we start the warm up I begin to focus on the connection between my eyes, brain and hand, once this is achieved I am in the Zone. This has taken YEARS to control and is only truly been achieved recently. It takes between 15 - 20 minutes to get oiled. There are two are methods I use to warn my brain that I am going to get into the Zone, getting my materials together and visualizing class up to a day before. Once I am in the Zone, it is a bit dream-like and I feel a bit out of it. Talking is an antidote to the Zone, but I like to listen, in fact I listen better when I am drawing.
What is the quickest drawing/painting you have completed? How long did it take?
Not sure- I think you might have been there. 2 minutes? Maybe less.
Would you like to work on a figurative piece over several hours, days? If so, why is this important to you?
Yes, but I am beginning to think that I might be better at time-limited drawing and painting. Some of the best things I have done are quick and care free. Thanks to you.
I want to start working bigger again.