Beauty and Nature by Ute Hadam
Written by Yvette N. Coleman

One day while I was browsing the internet searching for possible art for my collaborative book (Kinks…Connected at the Roots.) I didn’t have anything specific but I knew it was going to ‘just hit me’. Not long into my search I came across “waiting” a silhouette of a woman in abstraction, from that moment I knew her art would speak to me. I reviewed more of her work and each piece was significantly beautiful and intricate. Her art is very soulful and natural with endless possibilities of the human form. 

Her compositions are free and balanced between the light and dark of the subject that has one looking at each inch of the canvas.  I knew from that moment her work had ‘just hit me’. I reached out the Ute to inquiry about being available for the cover of KINKs, with the time difference of the UK I was on pins and needles for her reply.  I had to know more about her and her perspectives; I wanted her soulful feminine and sensual interpretations to represent the core of my book project. She was inviting and pleased to be apart and made the cover customized to myself and my co-author Amera Douglas.  In the time to come I had a chance to learn more Ute and I wanted to introduce my audience to her works of expression. 

How separate are you from your art?

To be an artist is a state of mind that one has whether one wants to or not. It is a way of seeing life which comes from the inside. One perceives, filters and reconstructs in one’s own way. The way in which this vision is presented is an outward manifestation. The artist is not separate from his art; the art is a kind of writing, his means of expression.

What have you learned from another artist lately?

One never stops learning. Every day one can be inspired by what can be seen around one at many different levels. Whether it is a well-known artist that one admires in a museum or an unknown artist, every encounter can bring something, whether it be from the standpoint of expression, technique, idea or originality. One must remain humble and open to others in order to take advantage of each one of theses experiences.

 Must art have a relationship to the rest of the world?

Art is inevitably a witness of its time. It reflects the current spirit, but art is also a witness of its environment. The artist always consciously or unconsciously integrates the impressions of his experiences whether it be in a small or a large way.

What are your inspirations?

Each artist has a selective eye with regard to the subjects of his inspirations and his preferences. Personally, I choose to highlight the positive side of life: nature, harmony of forms, the light that we, as human beings are lucky enough to perceive, friendship, love and positive thinking. And then all that goes with the beauty of objects in a still life, for example, or human bodies in their discreet sensuality. 

Do you work in a studio and how does your studio or home environment influence your work?  If yes to working in studio… How does the act of getting up and going to the studio every day affect your work ethic? Is more a job than a creative love?

My studio is a bright, spacious room in my house. I do not go " to work ", I am there permanently and never at the same time. The time spent in my studio doesn’t feel like work, but more as a gift from heaven. If I don’t have time to spend there, I feel like something is missing.

If you had the chance to spend time with any historical figures, an artist, a writer. Who would you choose?

I would choose several figures from various time periods and various domains.
It is important to have seen and known many things to be inspired by the best in every person. Enrichment can also come from another domain. A musician or a poet can inspire a painter or conversely. As a general rule, I have a lot of respect for the "pioneers" in all the domains; the people who advance things, the "fighters" with ideas who defend them and contribute to change (and improve) the world.

Do any of these people influence your work and why?

When I was a student of the “Beaux Arts” in Paris I changed studios every year.
It allowed me to learn from the best of every type of education and professor, to find my style by making a synthesis without trying to copy a given style or a given person all the while understanding their inspirational environment and being able to situate myself within this context.

Do you believe artistic creativity is innate, generally and personally? How old were you when you first knew that you would become an artist?

Absolutely!  My parents wanted me to become a banker, but I became an artist against hell and high water. I know people who became artists because they were born into this environment. They have a good overall artistic knowledge but their creating does not come from their soul. They have no sacred light and their work lacks passion. I have painted since childhood which was a vital necessity.

What are your methods of visualization? How does the process of creating a painting begin?

First, it’s quite technical; I prepare my backgrounds on canvas with various materials, paper collages, to obtain texture and an irregular structure which will be integrated into a composition. Then I draw the sketch of my subject using charcoal, work it into a structured composition and work the light and shadow.
Finally, the most pleasant part for me is to finish with colors, the deconstucting and reconstructiong of the subject in harmony with the surrounding elements. This is the most creative part of my work which allows me to express myself completely by following my intuituion and feelilng the present moment.

What do you do when you somewhere other than your studio and an idea strikes. How do you capture it?

By observing something extraordinary, for example, fireworks, a phenomenon of nature, interaction of light and shadows, a droplet on a leaf, a beautiful face, a play, a choreography, or bodies in movement, I try to capture and to memorize the physical sensation which has touched me. Later, I try to reproduce the same sensation in the peace and quiet of my studio. But, there are also emotional sensations which are more abstract such as rebellion, fear, and love that I can “translate” into images.

What causes artistic blocks? What do you do to solve them?

It is the phenomenon of the fear of the blank page which writers know so well. The fact that I do my initial work by preparing my backgrounds already gives me a good start which I use as a “springboard” to begin. There are days when “nothing happens.” In that case, I go to the swimming pool or take a walk outside to find fresh ideas or to take a break.

The business side of being an artist: how do you market/promote yourself, and does it work?

It is not easy to promote one’s self. Many artists prefer to leave this job to somebody else; it all depends on one’s personality. Personally, I enjoy taking charge of my promotion and having contact with the gallery owners, the customers and others interested in art. Relationships are often created which make my job quite pleasant and I wouldn’t change the profession that I love so much for anything in the world. And that’s why it works.

Did your parents encourage your art...and how?

My parents were “old fashioned” and when I was young they hadn’t television.
I grew up as an only child (no sisters and brothers), so I had to find an occupation at home for the long cold winter nights or rainy days and when it was impossible to play outside with other children.
My parents offered me a watercolor box and later oil color box with canvas.
So I filled up the empty space around me in drawing on my sheet of paper persons and things and this way I discovered the pleasure of painting and drawing and to dote things with a sole and with life.

Then I worked out this invention to make it perfect about the message and expression, to make it as beautiful as possible inside and outside.

Where did you grow up

My hometown is Stuttgart in the south of Germany where I grew up and had a happy childhood with parents who gave me all their attention and love even though they didn’t want me to became a professional artiste because “it wasn’t a real profession”.

My first professional training was in a bank. But it made me so unhappy to live in this surrounding of money and business without any creative side.
So I took the decision to switch into another direction. The world of art!

In the age of 25 years I moved to Paris in order to integrate the famous fine art school. “ECOLE DES BEAUX ARTS” of Paris First I just wanted to stay on year and then I met my husband……and I stayed studying until getting my diploma. Today (49 years old) I am still living in the Paris area….. And with the help of my family I can pursue my career. I have a boy of 19 years and a daughter of 15 years.

My parents who are not anymore in this world has the chance see my first success as an artist and where finally proud of me. This makes me happy.

Please take the visit to Ute’s site for more information to purchase www.utehadam.com
Translation for Ute Hadam conducted by: Monica BASSETT
15 rue de Paris F94470 Boissy-St-Léger FRANCE
Tel.1: +33 (0)950 250 393 Tel.2: +33 (0)1 45 95 07 06 Fax: +33 (0)950 250 393
Monica.Bassett@free.fr
www.Artabus.fr/bassett
www.ArtistInParis.com