Victoria Veedell
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AQ Volume IV artist Victoria Veedell captures the essence of nature by exploring the interplay of light and form in the natural world. Her work is recognized for its ability to convey the emotional memory of a place, capturing fleeting moments through a unique blend of light and color.
Victoria's paintings have been featured in numerous solo and group exhibitions, both nationally and internationally. Her work has appeared in esteemed venues such as The Triton Museum in Santa Clara, CA; the Maturango Museum in Ridgecrest, CA; the Chico Art Center in Chico, CA; James Baird Gallery in Newfoundland, Canada; and the Sakai Museum in Japan, among others. Her art is also part of various private and corporate collections.
Artist residencies play a vital role in her creative process. They offer her an opportunity to immerse herself in different landscapes, allowing her to capture the subtle yet dramatic shifts in light and color across regions and hemispheres. These experiences inform her work, which not only documents the transient beauty of these locations but also reflects the profound impact of climate change. Victoria has participated in residencies in Japan, India, Iceland, Finland, Newfoundland, Vermont, and California.
Veedell holds a BFA in painting from Texas A&M University-Corpus Christi. She furthered her studies at L’Ecole Albert Defois in France and pursued graduate-level painting at NYU. Her journey has taken her from working in galleries in New York City to exploring Japan and Asia, before ultimately making San Francisco her home in 2003.
https://veedell.com
What inspired you to become an artist, and how did you decide to commit to this path?
From a young age, I was always creating—whether molding animals out of clay, drawing imaginary worlds, crocheting hats and scarves for my dolls, or designing my own clothes in high school. My hands needed to be busy, always immersed in some form of creative expression. College marked a turning point where I began to focus more seriously on art, especially painting. I spent most of my time painting in the studio. My painting professor recognized my dedication and in my last semester gave me the unofficial job of TA to the freshman painters. I knew I wanted to pursue being an artist but still the concept of being an artist was nebulous to me, with no clear path laid out.
After graduation, I spent a transformative summer in France, including a month at a traditional painting atelier where I studied figure and landscape painting. This is where my love for using the landscape as inspiration formed. Returning to my hometown, I continued exploring creating images of the French countryside in pastel, working on developing my style. While pursuing my art and honing my skills, I worked in a contemporary art gallery and later as a studio assistant for several artists. Despite these day jobs, my passion for painting never waned; I turned my second bedroom into a studio and eventually rented a studio outside of the home to paint as much as I could at night after work and on the weekends.
Eventually, I moved to New York, continuing to juggle work and my art. After seven vibrant years in the city, I relocated to Tokyo, which marked the beginning of my full-time career as an artist. Because I wasn’t allowed to work in Japan without a visa, I spent my days painting and traveling around the country. During my two years abroad, I realized how much progress can be made and self-confidence gained by dedicating full days to painting. Also, while I was in Japan, I started exhibiting my work and pursuing opportunities like artist residencies. I really started to flourish and find my community when I moved to San Francisco, where I continued my commitment to painting full-time.
Could you share the story or concept behind your recent work?
The story behind my recent paintings is deeply rooted in my ongoing exploration of the natural world and the emotional landscapes it evokes. This series was inspired by my daily walks through the paths and waterways near my home in San Francisco. I’ve been captivated by the ever-changing light and the way it transforms familiar scenes into something new and unexpected each day.
In these paintings, I’m exploring themes of transience and presence, capturing fleeting moments that often go unnoticed. I’ve been experimenting with a more intuitive approach to color, using the subtle interplay of light and atmosphere to evoke a sense of calm and introspection. The use of grayscale photos and notans as starting points has allowed me to push my color palette in new directions, adding a layer of emotional depth to the work.
Through these paintings, I aim to convey the quiet power of nature and the importance of being present in the moment. I hope to invite viewers into a space where they can pause, reflect, and connect with the beauty that surrounds them, even in the most ordinary of places. This series is also a reflection of my personal journey, as I navigate the balance between my roles as an artist, mother, and environmental steward. Each painting is an invitation to slow down, to notice the subtle shifts in light and color, and to find peace in the stillness of the natural world.
What was the most challenging part of your path so far? How are you navigating this obstacle?
A challenge for me is working through my shyness and struggles with self-confidence. I continue to fight imposter syndrome, but what helps is showing up every day for myself in the studio, seeking opportunities to show my work, and supporting friends and colleagues by attending their openings and artist talks. I focus on finding the right opportunities that align with where I am in my career, as I put my work out into the world in different ways. I continue to apply for artist residencies, exhibition, and publishing opportunities, knowing that the life of an artist is full of rejections. To keep track of my efforts, I maintain a tally of all the opportunities I’ve applied for, celebrating the acceptances and learning from the rejections. I think of my efforts as casting seeds far and wide, looking forward to seeing what eventually grows.
What role does experimentation and exploration play in your artistic practice?
In my art practice, I explore different media by taking a course or workshop once or twice a year to learn a new material or technique that I don’t normally use. Recently, I took a cold wax workshop, which gave me a brief overview and a quick feel for how the material works. I’ll be going to a residency in November, where I plan to experiment more with cold wax.
In my daily practice, I usually have ongoing projects and deadlines, which can make it harder to experiment. I find that stepping out of my usual surroundings opens me up to exploration.
I’m currently creating a series of extra-large paintings, which has challenged me to figure out how to structure my process—how to set up my palette with enough paint, how much time to take between layers, and how to keep the momentum going without losing the vision for the painting.
Do you have any start or stop rituals before creating?
I usually start my day in the studio with a cup of coffee in hand, taking in the paintings around me, each at different stages of the process. I check my notes to see what needs to be done on various pieces and spend time observing, waiting for a painting to speak to me—whether it poses a question or reveals a way forward. I'm looking to see if I know what comes next or if I want to explore something new.
I've been taking notes on how I mix colors, which has been incredibly helpful since it’s challenging to recreate the same shades twice. Recently, I’ve focused on working on several paintings that share a similar color palette. This allows me to lay out paints that can carry through multiple pieces, minimizing waste. But when that plan doesn’t work out, I have a second table with a large glass palette set up, so I can have two color systems going at once.
If I’m feeling a bit unsettled when I arrive, I’ll set up a spot in front of a painting, grab my zafu pillow, and meditate for 10 minutes to get into a mindful headspace.
What message do you hope your art conveys to the world?
The message I hope my art conveys to the world is one of mindfulness and deep appreciation for the natural beauty that surrounds us. Through my atmospheric landscapes, I invite viewers to pause, reflect, and connect with the subtle yet profound moments in nature. My work encourages a sense of presence, urging others to notice the fleeting interplay of light and color that can transform an ordinary scene into something extraordinary. I also strive to bring a sense of peace into people’s lives through my paintings, offering a moment of calm and serenity in a busy world. My art speaks to the importance of caring for the environment, reminding us of the delicate balance we must maintain to preserve the world’s natural wonders. Ultimately, I aim to convey a message of harmony, tranquility, and the enduring connection between humanity and the natural world.
Share a mantra or favorite quote that keeps you going.
Every morning before my eyes open and I get out of bed I say to myself “Today is going to be a great day you are going to get a lot done. You will be energized in the studio to make things happen.” It’s a little open-ended to leave room for whatever may happen.
This quote by Chuck Close has stuck with me since the beginning of my painting journey: “Inspiration is for amateurs. The rest of us just show up and get to work. If you wait around for the clouds to part and a bolt of lightning to strike you in the brain, you are not going to make an awful lot of work. All the best ideas come out of the process; they come out of the work itself.” Mostly for me, it’s about showing up in the studio.
