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retty much the same thing repeatedly for years regardless of fashion what outside visual art informs your practice my paintings aren t really informed by visual cues i never look at something i find aesthetically pleasing and think i can emulate it in a work i am inspired by certain attitudes or vibes music and sound is really important to me especially electronic music and repetitive sound or samples it switches me on creatively also reading about esoteric beliefs or discovering unusual theories about any number of subjects seems to make me want to create and probably informs my stuff in ways i can t really explain yet how would you like people to engage with your work to look at it and use their personal aesthetic values to enjoy it or not have you seen anything recently that has made an impression the caulfield show at waddingtons was surprising i had seen most of the paintings before but the sketches and maquette constructed pieces were great to see they were scrappy and had lots of charm do you have anything exciting on the horizon i have just started some formal collages that are exciting to me because they are very quick to produce and feel fresh i m showing some paintings at new order ii at the saatchi gallery in october and i have a solo show at fold gallery next year no comments 03 september 2012 terry greene can you briefly describe what you do i make small improvisatory paintings using acrylic paint on canvas and occasionally on found boards what drives you to make work it just seems to me to be one of a handful of activities worth doing and that makes any sense just in the physical act the decision making process applying paint upon a previously worked surface and i m immediately lost in the practice the search and personal discovery which takes place i think like most artists i like to push at any parameters from time to time to explore some new territory and surprise myself each new painting seems to me to offer always new possibilities can you tell me something of your day to day working practices i get into the studio usually after an early morning walk on the moors with my dog the walk is ideal preparation time allowing for reflection in my studio i have stacks of shop purchased small ready stretched canvases and i always have a number of pieces of canvas paper and boards on the floor in various states of beginning other works are on the walls and these tend to be the ones i consider are near some state of becoming in the studio i attempt to begin straight away i now work with a newly found urgency across any number of canvases upon the floor adding and obscuring stains of colour with new variously generated marks this is the prelude the warm up or loosening up period like in some sports my thinking at that point is in part that i m engaged with drawing and allowing paint to be paint on the taught or loose plane of the support this is the initial attempt to begin to open up a space for a dialogue one piece generally captures and holds my interest and i concentrate on that one usually for the rest of the session i m not trying to resolve anything i attempt to maintain a level of distance and ambivalence towards the painting the practice is one of trying to be in the moment during the act of applying removing and the adjustment of liquid colour over the surface just being present that instant when some form of dialogue begins within each work i spend the day in the studio until late afternoon in the evening i may return to continue to paint or alternatively i might work on some drawings how long have you been working in that way i guess for about 3 or 4 years now which artists have had the greatest affect on your work a partial list might include braque the later studio series they still disturb and beguile me soutine those claustrophobic surfaces of painted space and matter circa 1921 22 especially the ceret landscapes morandi looking at those painted spaces in and around the objects in his still lifes guston his world appears to be made entirely out of liquid paint forrest bess if only i could be that direct and raoul de keyser uncompromisingly beautifully cryptic what outside visual art informs your practice travel walking streets in short the world about me i now realise i really don t have to travel very far from home i just have to be open and the unfamiliarity of a place can be re discovered that impression or experience is then always available to me to be called upon within the confines of the studio music and literature have always been close to hand and thinking around these subjects have over time informed my thinking my sister in law is a member of gio glasgow improvisers orchestra and she recently introduced me to graphic scores which just blew me away how would you like people to engage with your work if they take the time to look then i m happy however i would prefer it to happen in an unmediated and open way without the aid of a statement or explanations just a simple meeting have you seen anything recently that has made an impression recently i have begun exchanging works with a group of artists i ve meet via the internet including susan s scott keith murdoch and david t miller their paintings now hang on the walls of my home and make a wonderful impression on me on daily basis do you have anything exciting on the horizon yes also i m just about to make another exchange of work with an australian artist inga dalrymple which i m really pleased about 3 comments 15 august 2012 andrew maughan can you briefly describe what you do i make paintings what drives you to make work the feeling that i haven t done enough i m still a believer in paint and excited by its possibilities can you tell me something of your day to day working practices i m in the studio from mid day till 11 30pm in one corner of my studio i have a stack of paintings which are finished and have been photographed and the paintings i m working on or not sure about are lined up along two walls i spend a lot of time looking at them not looking at them working out if they re even interesting they tend to have several layers of paint on them i never scrape anything off i always keep adding more i try to create paintings with no references to the real world so i m not sure they are exactly abstract more non objective i don t keep a sketch book so all my working out and playing around is done on the canvas the trick is to not get attached to any of the paintings until they feel right then i stop this doesn t necessarily mean it s a keeper it might be kicking around the studio for months and one day i ll decide it s crap and add something more to it or obliterate it completely how long have you been working in that way my studio practice is still evolving but has been similar to this since i graduated from northumbria university in 2009 i ve always had a tendency to play around with paint just to see what happens which artists have had the greatest affect on your work dana schutz richard aldrich joe bradley mary heilmann philip guston georg baselitz martin kippenberger thomas houseago aaron curry chris martin rachel harrison franz west blinky palermo vincent van gogh ernst ludwig kirchner edvard munch howard hodgkin de kooning gerhard richter and many more what outside visual art informs your practice not much outside of art that s sort of the point although i was listening to a paul buchanan song called wedding party recently and was struck by the economy of word i ve been trying to figure out a way of translating that into my practice being more economical leaving things unsaid with paint it might creep in there soon how would you like people to engage with your work i don t mind it s up to them have you seen anything recently that has made an impression paula rego s drawing the wide sargasso sea at the laing in newcastle is pretty sweet do you have anything exciting on the horizon yes lots of shows coming up and i am part cave art fair at the liverpool biennial in september plus it s always exiting to make new work 3 comments 14 august 2012 robert linsley can you briefly describe what you do in my island paintings i pour commercial polyurethane enamel paint onto the canvas then lift and tip it to make the paint flow into a shape the canvas lies flat on the floor while the shape dries then i pour another one most of the work goes on between pours lately been making watercolours which means back to brushes but try to apply what i ve learned from the pours about letting the image produce itself what drives you to make work as it happens i could never have answered this question until very recently because the work is ongoing flowing and momentary i think i m really trying to unify my life and my art strange that i never had such an intention and normally would never think in those terms but the evidence seems to be there i don t want time to pass but to be lived through if that makes sense can you tell me something of your day to day working practices as above since each pour is unrepeatable a day without painting is a painting that will never be how long have you been working in that way since 1998 which artists have had the greatest affect on your work on a deep level my work is possessed by jackson pollock but picasso might be below that and what i see as the poussin cézanne axis is perhaps even more fundamental still i look at tiepolo a lot over the last few years been looking at many great and insufficiently acknowledged abstractionists as it happens mostly women gego joan mitchell marisa merz carla accardi helen frankenthaler mary heilman mira schendel lygia pape bridget riley r h quaytman none of these people are unknown but their importance is yet unmeasured what outside visual art informs your practice a few years ago theoretical physics had a big impact on me there is an important research institute in my town and i ve spent a lot of time there and met many very interesting scientists p g wodehouse how would you like people to engage with your work however they feel but not through concepts have you seen anything recently that has made an impression nowadays i am really in love with frank stella s moby dick series can t get enough of it do you have anything exciting on the horizon planning a print edition no comments 27 february 2012 hugh delap can you briefly describe what you do i make small abstract paintings on paper and canvas what drives you to make work i am interested in how i can visually articulate my experiences using an abstract language for a long time i have been fascinated by how a painting is made what drives me is the challenge of using the basic principles of painting form line and colour to create a painting which reflects something interesting to me can you tell me something of your day to day practices i paint every day at the moment i am working flat out for an exhibition at the end of march i have been working mostly on a heavy fabriano paper in oils and a small number of canvases it takes me a long time to make a painting so i tend to have a lot of work on the go at the same time how long have you been working in that way i try not to make drastic changes instead i try introduce new methods techniques or ideas gradually i started working in this way about five years ago and it is has been about three years since i started working on paper which artists have had the greatest affect on your work tomma abts thomas nozkowski phillip allen tal r thomas scheibitz robert bordo raoul de keyser ronnie hughes paul doran and mark swords come to mind initially to me these artists speak a similar language influenced by the bauhaus and geometric abstraction early on as a painter i felt an affinity for this vernacular what outside of visual art informs your practice i think many things impact how i work without directly informing my practice the space i am working in the time of year books movies tv series everything really if i find something interesting i will try to make a painting about it how would you like people to engage with your work when somebody looks at my work i hope they can interpret it using their own experiences my work has no single meaning instead i hope the viewer will make their own associations and allow their own meaning to emerge have you seen anything recently that has made an impression i recently re read an essay by jan verwoert the beauty and politics of latency on the work of tomma abts i reckon it is a must read for abstract painters i am also looking forward to paul doran next solo show in the green on red gallery in dublin in march i hope it will make an impression do you have anything exciting on the horizon i am preparing for a one man show in monstertruck dublin opening on the 30 th of march no comments 23 february 2012 emmanuel ballange can you briefly describe what you do i am a french painter and i live in the southwest of france in bordeaux i work on canvas oil or on paper gouache from preliminary predetermined geometrical drawings circles triangles trapeziums peculiar shapes my paintings are neither illusionistic nor demonstrative and how long that you been doing that i have been painting series for the last 12 years what drives you to make work shape is thought pictures paintings are the expression of poetry which could shake the meaning of the world an unprejudiced and as much as possible undetermined expression pissaro said my conscience became free as did my eyes can you tell me something of your day to day working practices i work in series i do not work every day since i teach in an art school to earn my living when i am in my studio i first work systematically on my drawings and then paint accordingly regularity and discipline are very important to me they prevent any romantic and or sentimental drifts one should paint even if one doesn t feed in the mood which artists have had the greatest affect on your work morandi bram and matisse what outside visual art informs your practice roland barthes 1915 1980 writer and art critic who wrote one must not seek to express the inexpressible but to un express the expressible how would you like people to engage with your work i expect the viewer to feel free tolerant and open to any visual experience have you seen anything recently that has made an impression the franois morellet reinstallations exhibition at the modern art centre centre pompidou paris in 2010 and most exhibits at the jordan contemporary art gallery in paris do you have anything exciting on the horizon a large series of gouaches which i hope to exhibit shortly 1 comment 13 november 2011 matthew r murphy can you briefly describe what you do i am a painter canvas and oil are a primary mode however i work with a variety of media the constructions inherently express similar things differently depending on the necessities of the idea or my curiosities in material or presentation the work will take different forms i find my work caught between the world of il...