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Bernadett Timko

Oil, Wood, and Linens by the Countryside



Art by Bernadett Timko
Art by Bernadett Timko
Art by Bernadett Timko

Born in Hungary and now based in a small town in northeast Wales, Bernadett Timko’s work is often inspired by the sceneries of her everyday surroundings. Working primarily with oil paints on wood or linen, Timko gracefully captures a wide range of objects and a variety of subjects with an eclectic but muted colour palette. She joins smART Magazine to discuss how she arrives at choosing her subjects, how the mood of her surroundings are reflected in her pieces, and a piece of insightful advice for emerging artists looking to disseminate their work to a larger audience.

sM | How does your surrounding environment — landscape, architecture, nature, friendships, music — influence the mood and aesthetic of your paintings?

BT ── All those things have an influence on my work but my home environment is my main source of inspiration. It has the biggest influence on how I feel and what I paint, as it’s a safe space to process things and make sense of the world, if that’s possible at all. It all comes from being present and noticing the little things in me and around me. Whatever I see that resonates with me in the moment and feels true to me, I paint it. The mood and aesthetic of my paintings are a simple reflection of how I see things: the colours I am drawn to in general, the unpolished imperfections, things that are simple and often overlooked but they bring joy into the mundane.

sM | When do you know you’ve found a subject you'd like to paint?

BT ── It happens in a split second. I see something, maybe the morning sunlight on the wall of my house, or just a photo of a friend or a stranger—and in their expression I recognize myself. Or in a bowl of noodles all squiggly and there is a lovely little red pepper piece that already looks like a brushstroke. I immediately can see things as paintings. It all depends on my mood. I have to feel how my subject feels even if it’s an inanimate object. When is a painting finished? That’s always a big question but I think it’s the same for everyone and it’s a simple decision. There comes a moment when it all just feels right and it says enough. I can’t add anything to it that would make it more than what it is now.

sM | Your social media presence contributes well to your ability to disseminate your artwork; what’s your advice for emerging artists looking to sell artwork to followers directly, instead of relying solely on the gallery system?

BT ── For a while I only showed my works in galleries and it all felt a bit isolating, and the process of reaching a bigger audience was slow. I wanted to connect with more people from far away places as well, make my art more accessible, much more affordable. My advice is to use Instagram or any other social media platform in a way that benefits you and your art but doesn’t distract you from what’s important to you. I definitely think it’s good to put out new works as often as possible; support, interact and build genuine connections with people (artists and art lovers as well) and stay focused in your practice. I’m still learning—I don’t have all the answers but how I do things now allows me to be a full-time artist. It can be stressful but also very rewarding.