Artist in focus / Künstler im Visier

Interview: September 2006

Lucie Brouillard [Canada]

 

 

How did you get started with bodypainting?
I got started with face and body-painting because I was very broke after a one-year trip in Europe. I came back to Montreal and my oldest friend said she had these old Crayolan pencils and that I was welcomed to use them to perhaps go try face-painting at the Jazz festival site downtown. I hopped on our old granny bike and brought a cushion for people to sit on on the sidewalk, and off I went down hill. I painted a few people before getting kicked out of the site, but it was too late... I was already addicted! I must say that by then I had almost finished a degree in fine Arts and had a bit of experience with theatre makeup from working with the theatre group from my hometown. It all made sense to me, combining these two elements. And I had really loved touching people, being close to them. I just went on and on and on...
How do you find the people in Canada react to bodypainting?
I established myself here 8 years ago and in only that little slice of time, attitudes have become much more accepting and open towards that kind of art. I live in Calgary, a booming oil city which increases in population so much each week, with people coming from all over the world. These new people bring new influences in contrast to the more conservative, down-to-earth, religious habits which have molded the mentalities of the prairie people. These influences slowly make their way and as a result, things change. I can now kiss people on the cheek as a greeting and they think it is cool, not just weird and embarrassing as when I first moved here. The same applies for body-painting. 8 years ago, the pictures of body-painting I had on my board were shocking to some kids and adults as well (“Oh my god! That is disgusting!”) but luckily I have not heard that comment in a long time now. I hear comments like: “Well well, look at that, that is so gorgeous! Where did you do that and what for?” A sane curiosity and awe now manifests itself, and I must say I am very happy and feel relief about this. When I paint a full body in front of an audience, reactions vary depending on the amount of cocktails consumed, of course, but most people are impressed by the sheer beauty of it and they ask all kinds of questions. Some others pretend there is nothing going on and walk by with their nose in the air. I find women more open as a rule. They seem to “get it' and just appreciate the work, the end result and the grace of body-painting more than men.
How do you design your work?
I design my work mostly from what is desired by the client, or by the theme given for a body-painting session. I have become used to certain lines, certain twists of the wrist which are mine and come naturally, and then I use them combined with a reserve of images that my head has accumulated over time. I mix and serve them, like a bartender his magic potions.
How do you present your work?
I present my work as... Mmhhmm.... Let's think. I offer full face-painting for kids as the ultimate fantasy game. One becomes a creature for a day and plays that role. Creative, fun, harmless. For adults, the same plus the fact that 5 minutes of face or body-painting is likely to relax them immensely. Sit down, enjoy the moment than enjoy the transformation, or the false tattoo that appeared on your arm, and pretend it's real, just for fun! As for full body-painting, I present it as a potential commercial hit for companies (logos, etc), or just as a gift for the eyes. I also present it as a treat for some people who want it done for themselves, simply. Pictures are taken to preserve that special day for posterity. Face and body-painting has to do with beauty, creativity and fantasy.
 
Do you live from your bodypainting or do you support yourself with other work?

I live at 95% from face and body-painting, the rest comes from painting the odd mural or refinishing a bathroom in funky mosaics. I ENJOY doing all of these, and I am so lucky to earn my living doing things I love. I understand it is a rare treat... but it is also a choice. One has to be stubborn enough and just DO it, believe in it. The rest follows.

What direction do you want to see your own artwork take in the future?
I want to create through body-painting on a bigger scale, while keeping on doing my smaller work with children. I have a daughter now, I expect another baby next August, and these wonderful events have made me appreciate even more the close contact with the little ones. They revive me, make me laugh and I truly love helping them to have fun. By bigger scale, with body-painting, I mean that I would like to get out there more and simply perform more, and have bigger, more complicated challenges. I wish to play with added pieces too, objects, jewelry.. I would like to do more photo shoots, more live performances, intricate, beautiful, rococo, heavy, bizarre and eye-catching creations. It will come. For whom or what I don't know, but it will happen!
How do you change your artwork depending on the model?
I guess there are physical aspects of each body which makes me lean towards certain lines- one has to adapt to the shapes of a body- like mixing painting and sculpting. Also, maybe if a model is especially bubbly and happy, this will reflect on the overall result, perhaps colors will end up brighter and merrier than what they were supposed to be in the first place, during the “thinking” process! So much can change, in my case anyway, from what I plan in my head before, what I see, and the final result. It can come from a stupid mistake which cannot be erased because of time issues or some other silly reason, then hop!, something has got to be done quickly, for better or worse. Sometimes, the audience can influence the atmosphere, and give bad or good energy, to me and or the model, and the work is affected that way as well. As a rule, I find most models very inspiring. Dancers are the very best, very conscious of their bodies, inhibited, elegant, natural, and at ease with the whole process, from beginning to end. Their physical collaboration helps me, gives me fuel to paint better, to “see” better what I can do. It is a very human and intimate experience. The less shy a model is, of course the better, freer I feel, as I don't need to “protect” or reassure her or him constantly, which naturally happens sometimes.
Link to Lucie's Profile