Inside Caroline Pinney’s Texas Studio
Texas-based contemporary figurative artist Caroline Pinney’s captivating paintings explore intimacy and human relationships—her canvas layered with oils, acrylic, charcoal and coffee staining.
Words: Hande Renshaw I Photography: Claire Schaper
Caroline Pinney is a contemporary figurative artist whose work primarily explores intimacy and human relationships.
‘Being an artist teaches me so much and I feel incredibly grateful to be able to do it for a living. Art has connected me to some wonderful people and opened my mind—it’s also made me more self-aware and curious by deepening my understanding of my place in the world,’ says Caroline Pinney.
Streak by Caroline Pinney.
“Things that evoke pure, raw, deeply felt emotions drive my creativity. In my opinion that encompasses nearly everything: life, people and the way they interact, relationships, what it means to be a woman, travel, music, art, plants and animals...”
French Press by Caroline Pinney.
‘The best lesson I’ve learned is that remaining loyal to the process over the end result is imperative,’ says Caroline Pinney.
Texas-based artist Caroline Pinney grew up in a household which nurtured and encouraged her creativity. Guided by her mother, a painter, she embraced drawing and painting from a very young age.
The pursuit to paint full-time was a strong pull Caroline felt growing up, yet it wasn’t until her early 20s that she first acknowledged art as a form of expression, a result of soul searching and seeking a deeper sense of self-awareness and growth that often comes with adulthood.
‘Like most kids straight out of college, I had very little understanding of who I was and had a massive chip on my shoulder. I struggled to find ways to effectively communicate and it left me a bit bitter and angry. Then I realised I could communicate through painting—I just had to be honest, curious, and vulnerable.’
The artist has been painting for over a decade, and as of March last year, made the transition into diving into her contemporary figurative painting full-time. ‘I’ve been so happy since, that I sometimes wish I had made that move sooner, but it allowed me plenty of time to build a solid foundation, which gave me confidence right out of the gate.’
Caroline’s paintings tread the line between gestural and more controlled methods of application, using traditional materials such as oil, acrylic and charcoal and also combining experimental materials such as coffee staining. Her characteristic colour palette features earthy tones, with layers of pattern and texture, the elements coming together to form her distinct visual language.
‘Using a combination of various materials in each of my paintings gives me the means to tell a more meaningful story. People and relationships are complex, so I use a lot of materials to echo that complexity—my work involves layering, experimentation, and play, which I find to be more obtainable through use of a variety of materials,’ she says.
When painting, Caroline surrenders to the process, letting the predictability and unpredictably guide her. ‘When I paint I want a sense of control and a loss of control,’ she shares. While the canvas or paper she uses offers her control, the unplanned and organic markings of ink or coffee staining create an unpredictable outcome. ‘Ink and fluid acrylic are similar in this way—you can only command so much, they will bleed and spread the way they want. This conflict between control and lack of control is what keeps the story and the painting interesting.’
Caroline’s creativity is evoked by pure, raw and deeply felt emotions. The people or ‘creatures’ that feature heavily in her artwork are versions of herself in different stages in her life, people she has met, has admired or loved. ‘I see a lot of myself in some of them. Some pieces I’ve made end up showcasing variations of me moving through something or versions of me during different moments of my life. I absolutely incorporate people I know, want to know, love, dislike, admire, or have just met in my work. Some don’t exactly exist so I hardly see them as people at all but rather “creatures” existing amongst a pool of relative companions,’ she says.
This year is shaping up to be an exciting one for the artist. ‘I’ve deliberately paced this year out for myself a bit in comparison to last year, which is invigorating and encouraging because I never used to be one to plan ahead—I’m thrilled to be working with a couple new galleries and to continue a great partnership with current galleries: Tappan (Los Angeles) and Commerce Gallery (Lockhart, TX.) I feel ready, eager, and so supported going into 2024.’
‘I’ve learned to embrace the ebbs and flows of my practice, which demand plenty of time without a brush in my hand. My wheels are always turning anyway, so I end up spending ample time researching/collecting an abundance of inspiration in my free time,’ says Caroline Pinney.
The Alchemist by Caroline Pinney.
‘The moment I stop being present and enjoying the process is the moment my work suffers – I can always feel it.’
‘When I paint I want a sense of control and a loss of control. The white canvas (or paper in this case) offers the control and the unplanned and organic shapes that coffee staining yields offers the loss of control.’