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Today I am posting an interview with professional artist Jennie Rosenbaum. Jennie is an American painter living in Australia who specializes in nudes, but the twist is she doesn't use live models, she uses 3D computer graphics. Jennie's paintings have received awards in many local and international exhibitions and are coveted by collectors world-wide. I was attracted at first to Jennie's art because of her impressive mastery in the portrayal of the female form and her use of light. It was her artwork that inspired me to write my first poem She's Bathed in Light.

Jennie is also remarkable in that she was involved in a car accident back in 2004 that left her with a chronic pain disability. However, through sheer will and with help from family and friends she has been able to paint her way through it, and last year she achieved her dream of becoming a mother. In addition Jennie is also an outspoken activist in favor of what she calls nude rights, the fight against censorship, and she leads an online group for people with disabilities. So her story is not only one of artistic success but one of conscience, courage and perseverance.

Now let's get to know Jennie's art and the woman behind the paintings!

Rolando: You have used several techniques to portray the female form. I like your use of color in your watercolor nudes, the simplicity of your impasto nudes and your use of light in your ochre nudes. Do you have a favorite way to represent the female body or do you think each technique captures a specific part of its essence? If so which one?

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Jennie: I think each technique fills in a space. Each one occupies a different area of the brain for me and enables me to focus on specific elements of the figure. The ochre works, as you say, are about the way the light caresses the body. I like to explore chiaroscuro, extreme light and dark, to create a three dimensional aspect. As this technique involves removing paint, building layers and stripping them back again, I think it is sometimes the most raw and primal, the most emotional of the three. 


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My impasto pieces are about the beauty of line and the purity of form. They are inspired by Asian calligraphy and are oddly obsessive. Each line tells a story, and each one must be precise. I like the incongruity between the obsessive, demanding effort, and the simplicity and elegance that is the finished result.

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My watercolors are the softer, more relaxed side. I get too wound up and too tight, like a coiled spring, so watercolors are a perfect counterbalance. The flow of water and delight in mixing colors together give me a chance to unwind. I also like to use them to refresh my skills in life drawing, in seeing and noticing the interplay of color in a more subtle way.












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