Page was the Grand Prize win­ner of In­ter­na­tional Artist mag­a­zine’s Chal­lenge No. 106, Peo­ple & Fig­ures.

American Art Collector - - Contents -

In­spi­ra­tion is found around ev­ery­where for artist Ginny Page, who re­sides in Den­mark. She is par­tic­u­larly drawn to pat­terns, tex­tures and re­flec­tions that cre­ate unique im­agery. Ex­am­ples in­clude shad­ows through a lace cloth on the wash­ing line that make pat­terns in the grass or re­flec­tions and dis­tor­tions from sil­ver­ware. She also finds in­spi­ra­tion from the Old Mas­ters, with Al­brecht Dürer’s art­work be­ing a rea­son why she wanted to be­come a pro­fes­sional painter.

Sev­eral of Page’s paint­ings have been in­flu­enced by the work of past mas­ters. Still Life with Prawns, which de­picts prawns on a pewter dish, was in­spired

by the food still lifes of Flem­ish painter Clara Peeters (1594-1657). An­other piece, Girl in a Golden Corn­field was painted in a Madonna style and its dec­o­ra­tive tech­niques were in­spired by the icon paint­ings of Giotto (1266-1337). The work, done in oil and gold leaf on can­vas, is a por­trait of Vik­to­ria in her mid-20s at the peak of wom­an­hood where the golden corn­field rep­re­sents peace and fer­til­ity.

“There are cer­tain el­e­ments in my work that I con­sider very im­por­tant for per­sonal rea­sons. I be­lieve whole­heart­edly that an artist must be true to his or her­self. What is the point other­wise?

De­spite some­times crit­i­cism and advice from oth­ers, I choose to paint the things I con­sider beau­ti­ful and in­spi­ra­tional in my own heart,” she says, adding that it is im­por­tant for her work to have el­e­ments of na­ture and to cap­ture sim­ple plea­sures or un­der­stand­ing from the viewer.

Still Life with Pan­sies and Bee is one ex­am­ple of na­ture be­com­ing the sub­ject of her art­work. “I love the flat, smil­ing faces of the pan­sies and the re­flec­tions in the sim­ple glass vase,” Page de­scribes. “The bee ar­rived on the scene again—a small and del­i­cate crea­ture but with the great­est of im­por­tance to our pre­cious planet.”

An­other piece, Ada­gio, which is named af­ter the mu­si­cal term that means “in slow tempo,” is a painting of gar­den snails. “This time [I paint] ‘or­di­nary’ gar­den snails that most con­sider pests. To me they are the most fas­ci­nat­ing crea­tures—no two are alike, but all per­fectly sculpted in both shape in de­sign (in con­trast to the maybe not so at­trac­tive crea­ture that lives within),” she says. “This painting is about my per­sonal need for both soli­tude and space, and also the need for tak­ing life at a slower pace.”

For all of her paint­ings, Page will take pho­tographs, se­lect the best el­e­ments from sev­eral im­ages and ar­range them much like a jig­saw puz­zle. Her fig­u­ra­tive works be­gin with an idea, fol­lowed by a photo shoot and then she chops and changes the im­ages ac­cord­ingly. Her still lifes, on the other hand, in­clude ob­jects that sym­bol­ize what is hap­pen­ing in her own life at that mo­ment in time.

Mu­sic has al­ways played a role in Page’s art­work, as she lis­tens to mu­sic while she paints and songs have in­spired the ti­tles of a num­ber of pieces. “My series of fig­ure paint­ings started back in 1999,” ex­plains the artist. “I painted my first oil painting of my lovely sis­ter-in-law He­len in her gar­den in Eng­land. She was lean­ing up against an old tree hold­ing a glass of wine next to her chest wait­ing for a glint of sun to warm her face. I ti­tled the painting Wait­ing for the Sun af­ter one of my fa­vorite al­bums by The Doors.”

1Ginny Page with her por­trait sub­ject, Brian. Photo by Sten Chris­tian Hansen.2Girl in a Golden Corn­field, oil and gold leaf on panel, 20 x 16"

3Still Life with Prawns, oil on panel, 8 x 12½" 4Ada­gio, oil on panel, 8 x 11" 5Still Life with Pan­sies and Bee, oil on panel, 7 x 9" 6It's Only a Dream, oil on panel, 11¾ x 11¾"

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