Artist in conversation: Ruby Chroma
“Observational painting is about having the humility to see the beauty that already exists in nature, and trying to do it justice.”
Ruby Chroma draws her inspiration from a rich tapestry of influences that span the classical and the avant-garde. Grounded in the meticulous techniques of a classical atelier, she honed her craft to perceive the inherent beauty in nature, humanity, light, and shadow, instilling a profound respect for the essence of existence.
Delving into the enigmatic realms where realism converges with the surreal, traditional aesthetics intertwine with modern interpretations, and the divine dances alongside the mundane, Ruby Chroma's paintings serve as intricate portals into the narratives of characters. Her work encapsulates the raw authenticity of everyday life, punctuated by the intense Baroque drama that underscores the vulnerability of human existence, all articulated through the medium of surrealism.
Ruby is influenced by the masterful strokes of iconic painters like Titian and Rubens, as well as the raw emotional expressions of neo-expressionists such as Basquiat. Drawing from a diverse palette of inspirations including mid-20th-century cinema, advertising, and the art of iconography, she poses a compelling question through her art: What simple image can evoke the most profound response?
By interweaving cultural references from Biblical narratives, historical events, cinematic motifs, and commercial symbolism, Ruby Chroma asks viewers to embark on a journey of introspection and discovery. Her artistry challenges conventional boundaries, inviting audiences to explore the depths of human emotion and experience through a lens that blurs the lines between reality and imagination.
Join Ruby Chroma on this voyage of artistic exploration, where the familiar meets the extraordinary, and where each brushstroke resonates with a symphony of emotions. Embrace the allure of her creations and immerse yourself in a world where art serves as a transformative bridge between the tangible and the intangible.
What initially inspired you to become an artist, and how did you develop your unique style?
I’ve been drawing ever since I can remember, I used to go sketching in galleries from the age of about ten, and copied from books and films. I didn’t take any art classes in school because I found the academic side of it uninspiring - too much writing and planning, not enough freedom, it didn’t suit me at that time. But my ideas grew and by the time I left school, I realised art was the only thing I could imagine doing. I went to an atelier because I wanted the basis of learning to draw and paint thoroughly - so that I would have the tools to execute any ideas, so that I could get down what I saw in my head.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
I usually take inspiration from other art forms - from something I’ve read or watched, and I almost always have music on when I paint because it helps me to feel instead of think. At the moment I have a private studio so I’m enjoying the solitude and freedom. If I’m in the room, with nothing to do but paint, then I just do it, whether the first idea is “good or bad” it doesn’t matter, you just have to do it until you hit on something. I have art books to look at if I need help - Rubens, Basquiat and Elizabeth Peyton.
How do you find the balance between realism and surrealism in your art? Do you have any specific techniques or strategies you employ to achieve this fusion?
I think realism and surrealism are different methods of doing the same thing - telling a story, creating an atmosphere. I studied portraiture, so I usually start from there, observing either a sitter or a reference photo. Whether it ends up being more grounded or more abstract is just whatever I feel best tells the story. My years of painting from life also taught me that reality is subjective. The way two people see is never the same. Even from minute to minute, you can look at an object in front of you and see completely different shapes, different colours. So realism and surrealism are not so different, because reality is not fixed.
How has your classical atelier training shaped your perspective on the power of nature, human beings, light, and atmosphere in your artwork?
I think a big misconception about classical training is that it’s very academic and rigid, whereas actually, if it’s done well, it can be deeply philosophical. Observational painting is about having the humility to see the beauty that already exists in nature, and trying to do it justice. To try to be a part of it, to record your experience of it. Painting from life is quite a simple and humble task, it either works, because you’ve captured the spirit of the sitter, made it interesting, harmonious, believable, atmospheric, or you haven’t. There’s no cheat code, there’s no theoretical side to it. There’s no hiding. My subject matter or methods may change, but these values remind me what’s important. Light and atmosphere hold power, nature holds power. Human beings are endlessly fascinating.
Can you tell us about a project or illustration that you found particularly challenging or rewarding?
I recently completed my first portrait from life in my own studio, where the conditions are not ideal in terms of space and light. It was also my first project without any teachers or fellow artists around to ask for advice, so it took a lot of faith in myself and a lot of experimenting to solve the problems I came across. It was challenging to do it completely on my own, and very rewarding to battle with the project and feel pretty satisfied with it by the end.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I think respect for your own efforts is essential. I’m at the very beginning of my creative career so I haven’t encountered much feedback yet, but I have noticed how people can be very quick to make judgements about ‘methods’ or ‘schools’ of art - modernists don’t like traditionalists and vice versa, and as someone attempting to bridge that gap I do encounter a lot of strong opinions from both sides. I think to divide them like that is reductive. But I also think, in any creative endeavour, whenever you’re disagreeing with someone, breaking away from the pack, angering people, confusing people, then you’re on the right track.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Having a studio keeps me motivated because it’s a dedicated space where nothing distracts me, and I don’t want to waste it. But it can also be quite monotonous to work alone, so I have to take breaks too, and get outside and find what inspires me - go to shows, talk to friends, study the work of those I admire. The myth of the solitary artist can be quite harmful, or the idea of magic talent. Sitting alone in a room waiting for magic to come can make you feel like a failure. When I feel uninspired I go back to basics and just practice drawing - sketching from books, galleries or from life. Art can be learned and practised, and found in infinite places other than your own head.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
This is my first time exhibiting work in London, so I’m really happy to do it in the city where I grew up, where friends and family can come and see it, and in a location like Dalston that’s got a lot going on. Everyone has their work on the internet now, but it’s incomparable to seeing it face to face. It was great to see my work being seen physically by so many strangers, and likewise for me to get to see the work of others.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I’m at such an early stage of my career having only graduated from art school less than a year ago, I couldn’t really say how things are going to turn out. As long as I always have time and space to paint, I’ll be happy. I’d like to keep learning and broadening my knowledge and influences. I hope I surprise myself as well as others. The only thing I hope my work will never be is boring; that’s the only unforgivable sin in my opinion.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
I’m fascinated by iconography because of how much can be evoked from such a simple image when it has connotations. Like looking at a Coke can, we all have associations, memories, or the shape of a cross, which is just two straight lines, but it brings to mind these towering ideas that we’ve all been raised to know, like suffering and sacrifice. So I think certain colours, shapes, or a word or two can hit really emotional or visceral buttons in people’s brains.
Portraits are the simplest and most complex stories, because all the information is right there in the character’s face. Humans will never get tired of looking at each other. That’s why portraiture is the oldest and most enduring subject, and I’ll always come back to it.
