Interview with an Artist

A conversation with Donna Beningfield about her entry into the Glencore Percival Portrait Painting Prize, Tony and the Coffee Cup 2013.

• Question: Who is your sitter?

Tony DiGiocimo. He’s the deputy principal at Wulguru Primary. My kids went to Wulguru Primary. Tony did the assembly there so as a parent, you’d see him. He had a huge voice, wild energy and crazy hair. He is such an inspiring guy. Tony was the pulse behind the school.

• Question: Why did you choose him?

I’ve known him for years. He’s a big man who radiates a spirit for life. I wanted to find some hidden part of him but I also thought that I had to be true to the image he presents. The image of this man is what we all see.

• Question: What did you discover about him?

I discovered that he has a potting wheel! He’s a potter. We’ve known each other a long time and I never knew this. He knows that I am an artist but has never mentioned it. It really goes to show how humble he is. It had just never come up. He made me a coffee cup which features in the painting. When he uses the wheel it really comes alive.

I thought that I knew him well but it shows that people always have little things. As a portrait artist this fascinates me. I want to unravel and find something really interesting to say about them; to really look for the essence and try to discover the hidden secrets. The challenge, as an artist, is to bring/translate that to the canvas.

• Question: How many sittings did you have?

Six sittings. I spent two watching him work and then four at my house. I spent a lot of time on the face and hands. They say it all. If they’re wrong, then everything is wrong.

• Question: How important is it to know you sitter?

It’s essential. I’ve done paintings from photos and I just can’t do it. I did a painting of a well-known man who had passed away. He was a life saver. All I had was a photo. In the end, I had to spend time with his family to make him more than a photo. I don’t need the direct communication with a sitter but I do need to understand who they are and what I’m trying to say about them. There’s no point to doing a portrait if you don’t know what you’re trying to say. It determines your colours, the type of position, fully body or torso. Tony had to be full body because this man has so much to give; he’s living life. That’s why he’s leaning forward, engaging with us. It’s why he’s smiling.

• Question: Smiling?

I made him smile. Generally smiles are a problem as the sitter has to hold it. It also looks like the painting has been worked from a photo. When you smile, the eyes wrinkle up. I knew that Tony needed to smile. It was important for me to make him smile because it gives the eyes life.

• Question: What about Mona Lisa, she smiles?

Yes. She’s got a very endearing quality that we respond to. Doesn’t it make you feel good when we see someone living, happy and engaging. Tony is like that.