[British artist Stella Vine has been causing quite a stir overseas. Her oft distorted and twisted portraits of figures famous and otherwise have gotten her plenty of media attention — and the notice of Charles Saatchi, one of the art world’s most influential figures. Paintings by Vine that sold for hundreds of dollars only two years ago now sell for tens of thousands. On the eve of Vine’s newest American exhibition, set to occur at Detroit’s Museum of New Art on Sept. 15, Detroit artist Ann Gordon checked in with Vine at her home in London.]

Real Detroit: I’ve heard that you like to finish a painting in 10-20 minutes; I can relate to wanting to finish a piece in a fresh stage. What do you say to critics who think that an artist has to toil over a painting for days, weeks or months? I have had to fight with myself in the beginning stages of paintings that early resolution is OK, have you ever had to do that?
Stella Vine: I did used to make paintings in 10 minutes. Not any more, now a painting takes a few weeks to a few months. I think I keep challenging myself more and more, and just 10 minutes, that kind of confidence I had once has gone, I’m more like a furtive little mouse. It gets harder and harder. In fact, it’s a battle to get into that little world that I like, a childlike place of secrets, and to ignore any voices of advice or criticism that have left some kind of residue in my brain. I hope I get better and better, but maybe I get worse and worse. Like many creatives, I guess I keep moving the goal posts. I’m riddled with self-doubt. I still know when I’ve finished a piece though.

RD: Do you mean to shock people with your celebrity portraits of contorted, dripping faces or are they meant to be taken more as a chuckle?
SV: I suppose it’s meant to evoke an emotional response; I have no desire to shock, sometimes my work is provocative though.

RD: How would you describe your work? Do you follow current art trends?
SV: There are contemporary artists I like, and have been inspired by — Karen Kilimnik for sure, Sophie Von Hellermann, Chantal Joffe.  But no, I think if anything I prefer to go and see stuff that clicks with me, that could be from a vast array of stuff, normally really old stuff though, and not to bother too much about what’s in and what’s out, what’s fashionable etcetera. I feel happier ignoring most of that. It’s rare I see something in an art mag that interests me, most of the time I feel empty, but occasionally there will be something I love, so I do read most things available to do with contemporary art. My work is really a skewed self-portraiture — my autobiography through all the people in my head.

RD: Is there anyone at the moment that you really want to paint?
SV: Well, Princess Beatrice at the moment has really captured my imagination. I think she is quite charismatic, and I feel she’s got the vulnerability and strength that interests me.

RD: Your past is a much talked about subject. Do you get tired of being labeled or do you believe it has fueled your success?
SV: I think it really helped to give me a platform. It’s a platform that has been ridiculed, but I appreciate it nonetheless. I think often people presume I’m quite stupid. I don’t know if that’s because of how I put myself across or if it’s because I was a stripper. Sometimes I feel from the way people patronize me when they talk to me that they seem to find my work very interesting but that it’s some kind of sheer fluke or accident that it’s that, not from any kind of considered decision-making on my part.

RD: I know how important connections are to artists, whether being involved with other artists or knowing the right collectors or galleries. Have you figured out how the “art game” works?
SV: Oh, it's tricky, isn’t it?  | RDW

Stella Vine’s exhibition at the Museum of New Art (MONA), located at 7 N. Saginaw St. in Pontiac, opens Sept. 15 with Stella painting a mural on-site; and runs through Oct. 28. For more info: www.detroitmona.com or 248.210.7560.