... “While painting a portrait, I feel emerged in the person appearing before me on the canvas to the point that we merge, it’s disgusting. To me, classical painting is a process of both frustration and magic simultaneously. It’ll take me hours, if not days or weeks, of pacing up and down and around the house, before I gather up enough courage to battle the big white square staring at me. When I finally do, the first stage is just to go at it with a speed that surpasses my conscious mind… Then somehow, a few hours later I always end up with a recognisable rough and the actual portrait execution can start. It’s magical how I ever even managed to get to the finish of a painting … ”
Jacqueline Huang started to endeavour in painting at the age of twelve, after she fell in love with the French revolution, Napoleon and his court painter Jacques Louis David. Boldly, and naively, she began experimenting with oil paints… The frustration that oil brought her impatience led to her turning to other materials such as acrylics and spray paint and this ‘mixed techniques look’ became her favourite way of working. Perhaps regretfully, many of her works haven’t been documented through photography before leaving the studio, but perhaps not. The process of painting is one thing, but once a painting leaves an artist it’s leading another life in a different place in the world. There is a beauty in this transience, as life and therefore works will move on.