Art
NR: I use traditional methods. I block
in color where I apply a thin layer
of oil paint — with only turpentine
added — intended to help determine
values and color relationships. I then
apply a thicker layer, in which I add
linseed oil to the turpentine and
create what’s called a medium that
is then added to the oil paint. The
process “fat over lean” refers to the
principle in oil painting of applying
paint with a higher oil to pigment
ratio (fat) over paint with a lower
oil to pigment ratio (lean) to ensure
a stable paint film. It is believed that
the paint with the higher oil content
remains more flexible. This second
layer is where accurate color
and shapes are crucial. It takes
the longest.
The third and final pass is the most
fun and much less technical. It’s
where I add fine details and
highlights or touches of black — all
the goodies that make the painting
pop and come alive.
RP: In addition to your portraits,
you are also known for your
incredible series of oyster
paintings. How did they
come about?
NR: I grew up outside Charleston,
South Carolina and in Europe, always
close to the sea and seafood. I’m
crazy about food in general, and
I chose oysters as a subject because
they are something I really love.
It was either going to be cheese
or oysters. I opted for oysters, as
they are better for my waistline!
I see each oyster as an individual:
sculptural and raw, beautiful
and abstract.
RP: Do oysters still continue to
hold your interest?
Nadine Robbins, Mrs.
McDonald, oil on linen
board, 18” x 24”. This
painting was chosen as a
finalist in the 31st Annual
Artist’s Magazine’s
Competition.
Nadine Robbins, Rolling Buns,
oil on linen, 48” x 72”.
NR: Yes, in between my paintings of
people, when I find myself in need of
a moment to breathe and am hungry
for new inspiration, I go back to my
roots near the sea to paint oysters
-- pure and beautiful.
RP: Is there a particular philosophy
that motivates you?
NR: I am driven by passion in
whatever I do. I’m also a very hard
worker, with a work ethic rooted in
my years as a graphic designer. I
relate to what the artist Chuck
Close says: “I don’t work with
inspiration. Inspiration is for
129
amateurs. I just get to work.”
RP: Nadine, where can we view
your art work in the near future?
NR: I’ll be part of a group show
called “Immortality and
Vulnerability” in Chicago in April
of 2015. I’ll show two paintings,
which I’m currently working on,
that explore bad habits and
guilty pleasures.
To see more of Nadine Robbin’s art
work, visit her website at
www.nadinerobbinsart.com