September Artist of the Month oil painter Lydia Enriquez typically begins each of her oil paintings, whether representational or abstract in design, with a collage. Her use of collage, to kick start her paintings, gives them a delightful ‘other-world’ feel mixed with the familiar. The result engages the viewer by drawing the eye in to bridge the real and unreal.

Lydia explains that her work speaks strongly to the idea of composite imagery, “Growing up constantly changing channels on TV, and surfing the internet at the speed of light has definitely shaped my aesthetic sensibilities. I think that this constant bombardment of ever-changing imagery has kindled my obsession for composite imagery. I love to put things together that don’t quite fit, whether they are figures in a landscape that are not quite appropriate or a pattern next to an organic abstraction. Through the process of collage I try to create something that can plausibly exist, because it comes from images of the real world, yet has its own sort of logic and idiosyncrasies. I find that this process of collage has two distinct phases, one of exploration and then one amalgamation. I usually become fascinated with some small detail in my world like the grain of wood on my table or the way my great-great grandfather stood in an old family portrait. These details find their way into a new composition. In a way, I am fabricating a new world for myself out of the most interesting and compelling aspects of the world that I live in.”

While collage is a part of her process, traditional drawing and painting techniques are still extremely important to her. Lydia paints directly from live observation as well as from a mix of photographs and memory. She also has multiple pieces and ideas in the works at any given time to spare herself the possibility of artist’s block as well as to be able to move freely to another project if she becomes tired or lost in a particular piece. This process affords her the opportunity to always be able to retreat to something completely different and keeps the work and experience fresh.

Learning about how to be a productive and successful artist is one the main concerns of her studio practice right now. She also thinks that it is important to have diversity in her studio work because as a young artist she doesn’t want to box herself in to any one category of ideas. “Instead of putting pressure on myself to formulate some overarching theme in my work, I am just trying to constantly create work that is meaningful to me. For example, many of my drawings and paintings (two that especially exemplify this are the large abstract landscape and the cemetery painting) are about my connection to the surroundings of my hometown. However, since I am currently living in Providence my interaction to the landscape of Harvard and nature in general has become limited to my memory. I mainly remember the landscape in fragments. These fragments are particularly interesting for me to document and put together, because subconsciously they are the most essential aspects of my home landscape.”

Lydia also works a lot with subject matter relating to her own personal history. “I have many old photographs of my family. In many cases, I am not really that familiar with the people or events that are documented in these photographs so I like to use them in a collage set up. It is sort of like I am using these images as paper dolls, creating my own take on the story of my predecessors, trying to fabricate my own personal history.”

“I have always just sort of known that I wanted to be an artist. Both my mom (Nancy Webber) and my uncle, Jeff Venier (August Artist of the Month) are artists, and ever since I can remember they have been very encouraging. However, I have always been very self-directed in learning my craft. The artists that influence me always fluctuation, but currently I am particularly taken with the work of Peter Doig, Jules De Balincourt, Antonio López García, and Horace Pippin.”

Lydia grew up in Harvard, graduated from the Parker School, and is currently a junior at Rhode Island School of Design studying oil painting. “I absolutely love the RISD painting department. The professors are all very talented as are the students. We really have strong sense of community in my department which is essential for young artists. I feel as though I have learned just as much from talking and working with my peers as I do from my professors.” In the summer Lydia also worked at the RISD Museum where she obtained valuable experience in the workings of a museum focusing on new acquisitions, upcoming exhibitions and publications. The experience also deepened her understanding of art history as well as the contemporary art world, two important topics for a painter to be well versed in.

Asked what advice she would give to art students in the community, Lydia advises “I would tell prospective art students to just keep working. Dedication to one’s studio practice is the most important part of becoming an artist.” What does she see herself doing in five years from now? “I hope to be attending graduate school for painting or possibly pursuing my interest in product design.”

In addition to working with oils, she also works often in graphite, ink, and charcoal. For more information, send email to lenrique@g.risd.edu.