Mock Artist Talk +1
Q. Why often work with gloss paint?
A. Gloss paint is a combination of the fluidity and structure of Oil paint, and dries faster than Oil (granted not as fast as Acrylic paint) but has still become a ‘familiar alternative’, like artist George Shaw [b. 1966] uses Humbrol enamel paints.
Both gloss and the humbrol enamels could be deemed ‘construction paint’ because they are used for DIY and modelmaking, granting them more power and authority over the commonly used and if it may be called bourgeois Oil paint’.
Q. There seems to be a pattern of working on the same size panel; 38 x 31 cm; why is that and could there be any consideration of working larger?
A. The size [38 x 31 cm] is comfortable and intimate compared to going to the National Gallery and seeing huge canvases depicting epic battles and romances. It can be compared to the size of head and thus grants the viewer to see more within their eye range including smaller detail, rather than having to stand 4 feet back and be isolated from the work. It has also been a beneficial size for working on with the depicted imagery and to paint this [imagery] on larger size is dependent on whether it is suitable or not. More importantly, it is about what the size of the panel allows. But yes, it is a goal to gradually work larger and exhibit in a space with the facilities so show such work.
Q. A trademark seems to be the Polish language painted into text on the panels and accompanied by abstract shapes, colours, grids and forms. Is that to bridge the gap between understanding the abstract imagery depicted?
A. It is exactly to continue the line of communication with abstract art as being either ‘lost’ or ‘found’, seeking an audience who would give up their time to question the English translation of the painted text. It also comes from the Suprematist movement’s use of a similar collage of text and image, asserting a Nationalist stance, coupled with influence from architecture and DIY, exploring themes of identity and nostalgia. Otherwise, the pieces occassionally have English language titles.
Q. What is it like to sometimes curate as well as show in exhibitions? Do similar themes translate across?
A. To curate an exhibition is not that different from making work as both involve meticulous planning and initiative. To translate practical themes in the work to a show feels essential as both allow the application of personal identity in an unfamiliar setting. If someone explores Modernism for example in practice, it makes little sense that they should not investigate similar ideas in an exhibition, whether it is their curation or otherwise.
Q. Drawing back to the paintings they seem to lack bright, affluent colours and instead use a lot of grey, black, magnolia, Russian blue etc. Is that a personal choice or was it appropriate to the work?
A. There were and still are those days where whilst contemplating and making, thoughts travel back to existential philosophers (notably Friedrich Nietszche) and ‘dark tone’ thinking but only because of a personal distaste for everything bright and childlike in visual art. It is always wonderful to see a bright image contrasted with a dark background and such, but the effect of seeing so much brightness could just as easily be achieved by using recreational amphetamines. Perhaps the dark tone in the work is also related to the atmosphere and a pessimistic view.
Q. What are the hopes for the debut solo exhibition in January 2013? Any titles, giveaways to the mood that should be generated?
A. The only determined absolute is that there will be a solo exhibition and that it will feature work, as promised. Titles are bouncing around… maybe something of a personal nature or better yet a topic that transcends the universal for the national like ‘Sto Lat’ meaning ‘100 years’ or similar to the ‘Survived Socialism’ exhibit recently. The mood itself will gurantee to be: something not seen before. There will be some ‘end of an era’ feel as the residency has been very educational to professional and personal development.
