“I like things where there’s a bit of ei­ther melan­choly or some­thing dark or sin­is­ter. Most great paint­ings do have that. That’s why there’s in­ter­est in those for so many years.”

Pasatiempo - - LISTEN UP - Artists on Art Ar­ca­dia,

Ron­quillo’s tech­nique is also the cul­mi­na­tion of years of work. Last month she wrote a guest ar­ti­cle for mag­a­zine out­lin­ing her in­tri­cate process. It be­gins with a draw­ing, which is trans­ferred to a can­vas that has been pre­pared with im­pri­matura; Ron­quillo then be­gins the un­der­paint­ing stage. She adds lay­ers of in­creas­ing trans­parency dur­ing mul­ti­ple paint­ing ses­sions, a slow method that en­tails dis­cov­ery dur­ing the act. “I’m al­ways learn­ing,” she said of the artis­tic process. “Each paint­ing presents a cer­tain set of prob­lems to be solved. It’s ba­si­cally over the years, just trial and er­ror. If you don’t like what you’ve painted, you can al­ways wipe it.” She added, “It’s also in­di­vid­ual style: I don’t think I can paint any other way. It ba­si­cally comes down to how do you find your voice. It’s what feels the most nat­u­ral, in a style or sub­ject mat­ter that con­tin­u­ously ex­cites you and amuses you. It sounds very trite, but it’s all about — am I in love with this im­age, with these ref­er­ences? Is it some­thing that to me is in­tel­lec­tu­ally stim­u­lat­ing or sat­is­fy­ing or just amus­ing? And tech­nique can be that too, be­cause oil paint­ing can be very, very complex or very sim­ple, de­pend­ing on the in­di­vid­ual artist and how they want to go about it. For me, it’s a life­long learn­ing sit­u­a­tion.”

Stop­pard wrote in “It’s want­ing to know that makes us mat­ter.” Ar­ca­dia may not last, but the undy­ing de­sire to learn has its own sort of per­fec­tion to it.

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