London-based artist Nina Baxter composes stunning geometric paintings. The vibrant, geometric artworks showcase her mastery in composition, using it to reflect her interest in color theory and abstraction. Ultimately, the geometric play in her acrylic paintings is quiet captivating to the viewer.
Artistic Odyssey had the opportunity to chat with the artist on finding art, her source of inspiration, her process, and more…
When did you discover your passion for art?
I have been painting and making things for as long as I can remember. My sisters and I grew up in a very creative household; when we were little we had a designated arts & crafts table which was forever covered in paint and glue. Up on the walls at home our work was in good company among prints by David Hockney, Howard Hodgkin, original paintings brought back from trips to the Caribbean, and work by family and friends. My real passion for art developed early on at secondary school when I began painting from nature and researching the lives and practices of artists I admired. This led to my decision to study Art History at The Courtauld Institute where my studies helped inform the artwork I produced alongside my degree.
What inspires your work, and how would you describe your style of art?
I am constantly finding new inspiration and influences to inform my art. I have been looking at a lot of architectural photography and plants to compare the patterns and structures found in man-made vs. natural designs. At the moment I am researching colour theory and the relationship between harmony in music and colour. Artists such as Josef Albers, Henri Matisse and Bridget Riley are hugely influential on my practice, not only for their paintings, but also for their written work and ideas. I would describe my style of art as geometric abstracts focused on the exploration of colour relationships.
Tell us more about your process to create the colorful pattern effect in your paintings?
Having been creating collages for several years now, I recently started using the practice as a way of ‘drawing’ and planning compositions for larger paintings. This began with the collage “Paradise City”, which the painting “Paradise of Possibility” is based on. Starting with the same grid of tessellating triangles, I added further lines to the composition to create more triangles within the pre-existing ones, mixing colours for the painting based on those found in the collage. By arranging compositions in this way I can play around with colour contrasts, proportions and form. There is also plenty of room for change during the transition from collage to painting as textured tones are simplified, shapes are altered and scale is adjusted.
Which of your paintings are you most proud of?
Of my recent paintings, I am particularly proud of “You’re In Control”. This is a painting in two parts, both of which took several months to complete. They were a labour of love created at a time of change and uncertainty. When I completed the first part of “You’re In Control” it felt like a pivotal moment, a step in the right direction and the beginning of a new style in my work. “You’re In Control” has a rather ‘the more you look, the more you see’ quality to it which I have endeavoured to maintain in my subsequent work.
Images courtesy of the artist