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Carl Andre said, "Man climbs mountains because they're there, | 0:00:30 | 0:00:34 | |
"and Man makes art because it's not there." | 0:00:34 | 0:00:37 | |
What artists do... | 0:00:50 | 0:00:52 | |
they explain things that you already know, | 0:00:52 | 0:00:56 | |
but they just say it in a different way. | 0:00:56 | 0:00:58 | |
And that's all I want to do is tell people... | 0:00:58 | 0:01:01 | |
all the incredibly intricate, fascinating extraordinary things | 0:01:01 | 0:01:08 | |
that you see if you have the time. | 0:01:08 | 0:01:11 | |
And the inclination... | 0:01:11 | 0:01:12 | |
..to just observe. | 0:01:14 | 0:01:17 | |
My inspiration is essentially my environment. | 0:01:17 | 0:01:21 | |
The, the natural world and how we fit into it. | 0:01:21 | 0:01:27 | |
How we are changing it, how we are affecting it, how... | 0:01:27 | 0:01:31 | |
nature, the natural world, whatever you want to call it, affects us. | 0:01:31 | 0:01:35 | |
So it's a sort of interface between environment and us as a species. | 0:01:35 | 0:01:42 | |
It's not necessarily the objects, I'm not object based when I'm looking at things, | 0:01:55 | 0:02:00 | |
it's the qualities that they have, | 0:02:00 | 0:02:01 | |
so it can be glass, | 0:02:01 | 0:02:03 | |
it can be lichen, it can be a curled-up leaf... | 0:02:03 | 0:02:07 | |
It's the qualities of the objects | 0:02:07 | 0:02:11 | |
that really sort of get the juices going for me, definitely. | 0:02:11 | 0:02:15 | |
I'm an outdoor person, and I love | 0:02:17 | 0:02:20 | |
everything in the wild, | 0:02:20 | 0:02:23 | |
in its natural habitat, and I travel quite a lot as well. | 0:02:23 | 0:02:27 | |
I am interested in chi... | 0:02:30 | 0:02:31 | |
the energy. The movements and the growth of the place. | 0:02:31 | 0:02:36 | |
I guess for myself it it it's all about...the idea of memories. | 0:02:39 | 0:02:45 | |
And memories are very important for me, | 0:02:45 | 0:02:48 | |
coming from a place like South Africa and coming to the UK. | 0:02:48 | 0:02:51 | |
So starting points for me is about family... | 0:02:51 | 0:02:54 | |
and the way my parents grew up. | 0:02:54 | 0:02:56 | |
And in those terms I think it's defined me to be a designer | 0:02:56 | 0:02:59 | |
that's more sentimentalist rather than conceptualist. | 0:02:59 | 0:03:03 | |
I love jazz, and there seems to be a very common thread | 0:03:03 | 0:03:06 | |
in all the collections I do that's based around that concept. | 0:03:06 | 0:03:09 | |
The thing I'm obviously most interested in as a portrait painter | 0:03:12 | 0:03:16 | |
and a figure painter is the human figure, so I look at a lot of | 0:03:16 | 0:03:20 | |
different representations of the body, as well as people in everyday life. | 0:03:20 | 0:03:24 | |
If I see someone on the bus who I think, "Oh, they'll make a really good painting," | 0:03:24 | 0:03:28 | |
I'll go say, "Do you mind if I paint your portrait?" | 0:03:28 | 0:03:31 | |
If they don't want you to, the worse is you'll never see them again | 0:03:31 | 0:03:35 | |
and you'll feel embarrassed a bit! It's not too bad. | 0:03:35 | 0:03:37 | |
Well, I find human figures fascinating, just because I... | 0:03:40 | 0:03:45 | |
I... | 0:03:45 | 0:03:47 | |
As a child I grew up with | 0:03:47 | 0:03:50 | |
theatrical characters that are a bit like carnival characters, | 0:03:50 | 0:03:54 | |
except they're from Nigeria. | 0:03:54 | 0:03:57 | |
And these dress up and look so not human, you know! | 0:03:57 | 0:04:01 | |
They'd have headdresses that would make them look as if they had | 0:04:01 | 0:04:05 | |
a ginormous head, you know, and a little body! | 0:04:05 | 0:04:08 | |
So the fact that you could change the human figure I've always found fascinating. | 0:04:08 | 0:04:12 | |
And I'm also interested in textiles | 0:04:12 | 0:04:16 | |
and costumes, different rhythms, patterns, all sorts of things. | 0:04:16 | 0:04:21 | |
I often tell myself stories as I'm walking along. | 0:04:27 | 0:04:30 | |
I make up stories as I'm walking. | 0:04:30 | 0:04:32 | |
The stories and the sounds translate themselves into pictures. | 0:04:32 | 0:04:36 | |
Because I've got this character, Mr Mustard, | 0:04:45 | 0:04:48 | |
and he's almost my, er, | 0:04:48 | 0:04:49 | |
my imaginary friend, my alter ego, he walks along with me. | 0:04:49 | 0:04:53 | |
It's almost as though he's walking along with me. | 0:04:53 | 0:04:55 | |
I imagine seeing the world through his eyes. | 0:04:55 | 0:04:58 | |
I'm very interested in the world of the imagination, the dream world, if you like. | 0:05:05 | 0:05:10 | |
I've always looked at archaic objects from ancient Greek and ancient Egypt. | 0:05:10 | 0:05:16 | |
And I find all that kind of archaic sculpture very inspirational. | 0:05:16 | 0:05:22 | |
Years and years passed before I began to understand that actually | 0:05:24 | 0:05:27 | |
I was connecting in with a lot of things to do with my childhood, | 0:05:27 | 0:05:31 | |
the way that I played with dolls, | 0:05:31 | 0:05:34 | |
created stories, was interested in theatre. | 0:05:34 | 0:05:37 | |
All those early things when I was younger | 0:05:37 | 0:05:40 | |
I realised they're coming back into my into my creative practice. | 0:05:40 | 0:05:45 | |
I get my inspiration from popular cultural imagery, | 0:05:47 | 0:05:53 | |
and that can date back to the 60s, possibly even the 50s, | 0:05:53 | 0:05:56 | |
and anywhere up until the current day. | 0:05:56 | 0:05:59 | |
Movies, from music, they're two of my biggest inspirations. | 0:05:59 | 0:06:03 | |
Then I source a lot of imagery from fashion magazines. | 0:06:03 | 0:06:07 | |
I take my camera and I'll go out and I'll photograph whatever I can. | 0:06:07 | 0:06:12 | |
Signs, bits of peeling billboards, graffiti artists' work, | 0:06:12 | 0:06:17 | |
just because of the colour schemes I think I reflect a lot of | 0:06:17 | 0:06:21 | |
the bright graffiti-inspired colours in my own work. | 0:06:21 | 0:06:24 | |
When I was studying art at a younger age, | 0:06:38 | 0:06:41 | |
I did a lot of pencil drawings and sketchings. | 0:06:41 | 0:06:44 | |
And sketches, which I think is, is important. | 0:06:44 | 0:06:47 | |
Nowadays I use handwork more for layout and sizing proportions. | 0:06:47 | 0:06:53 | |
I found with what I do with pop-art style imagery and graphic imagery, | 0:06:53 | 0:06:59 | |
that computer software aids me a lot better for that, that is what I use as a tool for drawing now. | 0:06:59 | 0:07:06 | |
It's a great tool for composing things | 0:07:08 | 0:07:11 | |
without having to commit to actually doing anything on the canvas first. | 0:07:11 | 0:07:15 | |
Usually I'll do that, then I'll go to the canvas and I'll freestyle something. | 0:07:15 | 0:07:19 | |
But it's because I've got that composition logged in my head already. | 0:07:19 | 0:07:23 | |
The point of drawing for me is that it goes through my head. | 0:07:27 | 0:07:32 | |
It's it's me trying to filter the world, capture | 0:07:32 | 0:07:38 | |
something of my response to it in these set of rather awkward lines. | 0:07:38 | 0:07:44 | |
It's not a record of the place, it's a record of me standing in front of the place | 0:07:44 | 0:07:49 | |
and that's why I have to draw, I think. | 0:07:49 | 0:07:53 | |
When I'm drawing I get into a zone now. | 0:07:53 | 0:07:57 | |
And when I draw it's really exciting because I have all this material | 0:07:57 | 0:08:01 | |
and all this, the skills that I've built up over the years, and they all focus in. | 0:08:01 | 0:08:06 | |
You find you're doing this piece of work | 0:08:06 | 0:08:08 | |
that's really exciting, and you almost don't know you're doing it. | 0:08:08 | 0:08:12 | |
You're almost running with your drawing, because it's so exciting. | 0:08:12 | 0:08:15 | |
The idea of trying to get this thing down, | 0:08:15 | 0:08:18 | |
and you try to almost pin it down, | 0:08:18 | 0:08:20 | |
and the nailing it becomes very exciting. | 0:08:20 | 0:08:23 | |
I try and have a range of things that'll make marks to react to the actual thing. | 0:08:23 | 0:08:29 | |
If you're working quickly, charcoals and things you can rub and push | 0:08:29 | 0:08:34 | |
about are probably more useful than pencils, which are much more precise. | 0:08:34 | 0:08:39 | |
If you just take a photograph then move on, you've never looked, | 0:08:41 | 0:08:45 | |
you haven't really analysed what you're seeing. | 0:08:45 | 0:08:47 | |
Whereas with a drawing you have to look a lot harder and a lot longer, | 0:08:47 | 0:08:52 | |
and therefore it gets recorded in your memory so much better. | 0:08:52 | 0:08:55 | |
And if I couldn't draw reasonably well, | 0:08:56 | 0:08:59 | |
I couldn't model very well either | 0:08:59 | 0:09:01 | |
because I think the two are extremely linked. | 0:09:01 | 0:09:04 | |
I couldn't imagine a face in three dimensions if I couldn't draw one in two. | 0:09:05 | 0:09:11 | |
Whenever I'm walking out in the landscape | 0:09:14 | 0:09:16 | |
I always tend to bring stuff back with me. | 0:09:16 | 0:09:19 | |
Bits of stone, bits of grass, bits of twigs, bits of feathers. | 0:09:21 | 0:09:26 | |
If I was to make a sketch | 0:09:26 | 0:09:28 | |
in situ, I would be selective. | 0:09:28 | 0:09:31 | |
You know, you can't put everything down in a sketch. | 0:09:31 | 0:09:35 | |
And if I'm working from the sketch in the studio, | 0:09:35 | 0:09:38 | |
I'm also being selective from the sketch. | 0:09:38 | 0:09:42 | |
You're too far removed from the actual place that you're in. | 0:09:42 | 0:09:47 | |
Because I'm a sculptor, I tend to use different methods, | 0:09:52 | 0:09:57 | |
often putting them down on paper isn't satisfying enough | 0:09:57 | 0:10:00 | |
so I will have objects that I manipulate within a room. | 0:10:00 | 0:10:04 | |
Put them next to each other, on top of each other, attach things to them, | 0:10:04 | 0:10:11 | |
throw a whole load of paint all over them, alter the tone, the colour. | 0:10:11 | 0:10:15 | |
Just keep altering them until I'm happy with them. | 0:10:15 | 0:10:17 | |
I still class that as drawing because I'm still exploring an idea. | 0:10:17 | 0:10:25 | |
I think drawing's quite a lot like grammar, almost. | 0:10:29 | 0:10:32 | |
If you're going to learn a language, if you don't have the grammar | 0:10:32 | 0:10:36 | |
and the way sentence structure works, syntax and the verbs, | 0:10:36 | 0:10:39 | |
you can't hope to construct a sentence or speak that language. | 0:10:39 | 0:10:43 | |
If you don't have the basic skills of drawing | 0:10:43 | 0:10:45 | |
to make up a larger whole, | 0:10:45 | 0:10:47 | |
then the chances are that piece of work isn't really going to be very successful. | 0:10:47 | 0:10:51 | |
Also, drawing actually plays a part in my painting process. | 0:10:53 | 0:10:56 | |
So, you might not be able to tell all the time looking from a distance | 0:10:56 | 0:11:00 | |
but if you come up close to one of my paintings | 0:11:00 | 0:11:02 | |
you'll often find there's areas that have been worked into with ballpoint pen. | 0:11:02 | 0:11:06 | |
Sometimes red on a painting, you wouldn't really notice that on. | 0:11:06 | 0:11:10 | |
Or if there's a particularly bright white I want I'll use correction fluid | 0:11:10 | 0:11:14 | |
because it brings a brighter white than the actual white paint I have. | 0:11:14 | 0:11:18 | |
So I bring drawing elements into my finished paintings. | 0:11:18 | 0:11:22 | |
It's often thought that you've got to be a fantastic sketcher | 0:11:26 | 0:11:29 | |
or fantastic drawer, to be a designer. | 0:11:29 | 0:11:33 | |
But I think if you have a sense of shape and an idea of scale, | 0:11:33 | 0:11:38 | |
I think any drawing becomes valid as the starting point to design. | 0:11:38 | 0:11:42 | |
So I do think it's quite crucial to be able to things onto paper. | 0:11:42 | 0:11:45 | |
I think the reason I draw is because it's almost the pulse of life. | 0:11:53 | 0:11:59 | |
As soon as somebody starts making a mark on a page, | 0:11:59 | 0:12:02 | |
it's evident that something's moving or alive. | 0:12:02 | 0:12:05 | |
Some people find it through writing. | 0:12:05 | 0:12:07 | |
They write words, but it's a signature that goes straight down onto the paper. | 0:12:07 | 0:12:11 | |
And I feel that I observe | 0:12:11 | 0:12:13 | |
what's in front of me, | 0:12:13 | 0:12:15 | |
and I'm trying to capture that energy. | 0:12:15 | 0:12:17 | |
It's a very important part of my practice, drawing. | 0:12:17 | 0:12:20 | |
For me a sketchbook is very much about a visual diary, | 0:12:35 | 0:12:39 | |
the fact that I can look back on a sketchbook that I did ten years ago | 0:12:39 | 0:12:43 | |
and still actually feel quite emotional about it. | 0:12:43 | 0:12:47 | |
It will remind me of a period of time. It might remind me of a place I visited. | 0:12:47 | 0:12:51 | |
It'll remind me of qualities that I really sort of felt quite excited about at the time. | 0:12:51 | 0:12:56 | |
And some probably still do when I look back on them. | 0:12:56 | 0:12:59 | |
I don't tend to be random in my sketchbook, | 0:13:00 | 0:13:03 | |
I tend to actually work sequential with the pages, | 0:13:03 | 0:13:07 | |
and that also gives you a sequential development | 0:13:07 | 0:13:11 | |
in the kind of ideas and the work that you do. | 0:13:11 | 0:13:14 | |
And you can actually see how your work developed | 0:13:14 | 0:13:17 | |
and how your ideas develop, as well. | 0:13:17 | 0:13:18 | |
I have to make sort of a little loving book to start working | 0:13:21 | 0:13:27 | |
that I've got some kind of link and relationship with. | 0:13:27 | 0:13:33 | |
I do these rapid walks | 0:13:40 | 0:13:42 | |
where I do literally hundreds of very quick sketches and scribbles, | 0:13:42 | 0:13:47 | |
which are partly just sort of... In their own right they exist, | 0:13:47 | 0:13:52 | |
but they're also useful in the future to refer to and to create new ideas. | 0:13:52 | 0:13:56 | |
I normally try and do something in my sketchbook when I'm working on a canvas, | 0:13:58 | 0:14:03 | |
or a work on paper that will be exhibited and quite likely it'll disappear, | 0:14:03 | 0:14:08 | |
it will be sold and go out of my world. | 0:14:08 | 0:14:10 | |
So I still have something in my sketchbook | 0:14:10 | 0:14:13 | |
to remember that event, that experience by which it might just last as that, | 0:14:13 | 0:14:19 | |
and nothing more. | 0:14:19 | 0:14:20 | |
But it might be useful for a future series of works. | 0:14:20 | 0:14:23 | |
In mine you can often see, you know, where the earth has got involved | 0:14:25 | 0:14:31 | |
or the seawater or, you know, the elements have become trapped within the pages. | 0:14:31 | 0:14:36 | |
So they're fascinating objects in themselves. | 0:14:36 | 0:14:38 | |
To me, drawing is essential. | 0:14:44 | 0:14:47 | |
But drawing now means a whole host of things. | 0:14:47 | 0:14:50 | |
You can draw with film, you can draw with wire, you can draw with your foot in the mud. | 0:14:50 | 0:14:55 | |
Quite often if I'm a bit stuck I'll flick through them very casually | 0:14:58 | 0:15:03 | |
and revisit certain images and certain ideas. | 0:15:03 | 0:15:08 | |
So they're like a sort of precious source. | 0:15:08 | 0:15:11 | |
My sketchbooks are more like what I would call | 0:15:15 | 0:15:18 | |
a kind of critical journal. | 0:15:18 | 0:15:20 | |
The critical journal is is something more than a sketchbook, | 0:15:22 | 0:15:26 | |
it contains research material, photographs, pictures. | 0:15:26 | 0:15:31 | |
Not just me working out designs or working out sketches, | 0:15:31 | 0:15:35 | |
but thinking about writing and thinking about the sort of avenue | 0:15:35 | 0:15:41 | |
that I maybe got stuck in. | 0:15:41 | 0:15:43 | |
So I use that sketchbook | 0:15:43 | 0:15:45 | |
in a much broader way than just making drawings. | 0:15:45 | 0:15:48 | |
I feel if I lost my sketchbooks | 0:15:52 | 0:15:55 | |
I would not know quite who I was as an artist. | 0:15:55 | 0:15:59 | |
My sketchbooks are a form of therapy. | 0:16:05 | 0:16:10 | |
It's like a stone you whisper to! | 0:16:10 | 0:16:12 | |
And I'm just, you know, really glad to have them, | 0:16:12 | 0:16:15 | |
cos they don't talk back! | 0:16:15 | 0:16:18 | |
I don't put lots of ideas in them. | 0:16:21 | 0:16:24 | |
I, you know, I think I'm quite slow. | 0:16:24 | 0:16:26 | |
I do things one at a time, | 0:16:26 | 0:16:30 | |
and after it's done, it's done. | 0:16:30 | 0:16:32 | |
Once the sketchbook's finished it's finished. | 0:16:32 | 0:16:34 | |
It's a paper period in my life, cos, you know, | 0:16:34 | 0:16:39 | |
I almost do little sketches with my small maquettes as well. | 0:16:39 | 0:16:43 | |
I'm having a conversation on paper, | 0:16:43 | 0:16:46 | |
and then having a 3D conversation in the studio, | 0:16:46 | 0:16:49 | |
and then the bigger thing will take its own way. | 0:16:49 | 0:16:52 | |
But, you know, I use as many things as I can, actually. | 0:16:52 | 0:16:56 | |
Historically, I draw on other artists that were involved in important movements. | 0:17:10 | 0:17:15 | |
Like Andy Warhol, like Jean-Michel Basquiat, James Rosenquist. | 0:17:15 | 0:17:20 | |
There's a whole group of artists that were involved in the pop art movement. | 0:17:20 | 0:17:24 | |
But also, I think, one of my main inspirations comes from the hip-hop movement | 0:17:24 | 0:17:28 | |
and rock & roll in the '70s and '60s. | 0:17:28 | 0:17:32 | |
Very vibrant, kind of aggressive, without being violent movements | 0:17:32 | 0:17:37 | |
that really changed the way that people looked at subcultures. | 0:17:37 | 0:17:42 | |
Subculture is through punk music, through skateboarding, | 0:17:43 | 0:17:47 | |
through surfing. | 0:17:47 | 0:17:49 | |
These are all things that have been a very intrinsic part of my life. | 0:17:49 | 0:17:52 | |
I think you make art about what you know. | 0:17:57 | 0:18:00 | |
I grew up in the Philippines, | 0:18:00 | 0:18:01 | |
which is in South East Asia, and part of my childhood was spent growing up | 0:18:01 | 0:18:08 | |
under the Marcos dictatorship, | 0:18:08 | 0:18:10 | |
which was quite well-known in the West | 0:18:10 | 0:18:13 | |
for this woman called Imelda Marcos, | 0:18:13 | 0:18:16 | |
who was most famous for having 3,000 pairs of shoes. | 0:18:16 | 0:18:21 | |
And also I grew up in quite a highly politicised family. | 0:18:21 | 0:18:24 | |
My work is influenced by this sort of interest in my own history. | 0:18:24 | 0:18:30 | |
I spend a lot of time looking at things, and, you know, you go to museums and galleries | 0:18:30 | 0:18:35 | |
and see other people's work, and kind of gathering images and reading about artists, | 0:18:35 | 0:18:39 | |
and reading about historical episodes. | 0:18:39 | 0:18:42 | |
It's a lengthy process of research | 0:18:42 | 0:18:44 | |
that leads to producing the work in the end. | 0:18:44 | 0:18:49 | |
These kind of cultural and political interests will always be there, | 0:18:50 | 0:18:55 | |
but the kind of actual making, the process of making, takes over. | 0:18:55 | 0:18:59 | |
If I'm working towards a painting | 0:19:01 | 0:19:02 | |
I will do drawings of any objects that I think might be in there. | 0:19:02 | 0:19:06 | |
But I think it's important | 0:19:06 | 0:19:08 | |
not to get it too organised. | 0:19:08 | 0:19:10 | |
Then I will look up in books about symbolism, | 0:19:13 | 0:19:16 | |
or on the internet, about symbolism. | 0:19:16 | 0:19:18 | |
I need to check what something like an apple means, | 0:19:18 | 0:19:21 | |
or a particular vase, or a particular colour. | 0:19:21 | 0:19:25 | |
These all symbolically mean things. | 0:19:25 | 0:19:28 | |
When I look it up it's really interesting because quite often it gives you another idea. | 0:19:28 | 0:19:34 | |
So you might look at something like a mirror, | 0:19:37 | 0:19:40 | |
and you think, "I want a mirror in this, cos I'm going to have a reflection of maybe me in it." | 0:19:40 | 0:19:45 | |
Or a reflection of the objects. And then you'll find that the mirror | 0:19:45 | 0:19:49 | |
is likened to the moon, and you find that the moon is to do with female, | 0:19:49 | 0:19:55 | |
because it reflects the light of the sun. | 0:19:55 | 0:19:57 | |
All of my projects use referencing from history. | 0:20:01 | 0:20:06 | |
The work that I'm doing at the moment, I'm referencing | 0:20:06 | 0:20:09 | |
some of the traditional crafts within English Manor Houses. | 0:20:09 | 0:20:13 | |
I'm referencing in particular Grinling Gibbons, | 0:20:13 | 0:20:16 | |
who was a master wood carver, 17th century. | 0:20:16 | 0:20:19 | |
And so I'm kind of...I've been doing lots of kinds of experiments in the studio about the actual technique. | 0:20:19 | 0:20:25 | |
Now I feel like I'm ready to start actually developing ideas with that technique. | 0:20:25 | 0:20:31 | |
All the time that I was working with the process I was sort of starting to think about the ideas then. | 0:20:36 | 0:20:42 | |
So it's a very kind of reactive process. | 0:20:42 | 0:20:44 | |
I'm reacting to things all the time. | 0:20:44 | 0:20:47 | |
I like those situations, because they're challenging. | 0:20:47 | 0:20:51 | |
When I first started to use a varied range of materials, | 0:21:00 | 0:21:05 | |
it was to do with using found objects. | 0:21:05 | 0:21:07 | |
So I'd find objects on these journeys to find narratives, | 0:21:07 | 0:21:11 | |
and some of the sites I went on I used to find lots of different pieces of old metal, | 0:21:11 | 0:21:17 | |
and I wanted to embed them into the paintings. | 0:21:17 | 0:21:20 | |
And then eventually, when you come to a place like Hampton Court Palace, | 0:21:20 | 0:21:24 | |
you can't start taking things off the wall and start embedding them into the paintings. | 0:21:24 | 0:21:29 | |
So at that point I realised I had to find things. | 0:21:29 | 0:21:32 | |
So I used to go to junk shops and try and find the equivalents of, "That looks like a little crown," | 0:21:32 | 0:21:37 | |
although it's not a crown, or, "That looks like an amazing piece of jewellery," | 0:21:37 | 0:21:40 | |
but it's just a tacky piece of jewellery that's been bought from a charity shop. | 0:21:40 | 0:21:45 | |
But once they're in the paintings they tend to have very jewel-like qualities. | 0:21:45 | 0:21:49 | |
There's definitely a huge narrative element in my work. | 0:21:57 | 0:22:02 | |
Maybe I'm scared of revealing who I am, | 0:22:03 | 0:22:06 | |
so I look for other people's stories to tell my own stories, so I come at it from a slightly different angle. | 0:22:06 | 0:22:12 | |
When I first started to use, a varied range of materials, | 0:22:21 | 0:22:25 | |
it was to do with using found objects. | 0:22:25 | 0:22:28 | |
FOOTSTEPS | 0:22:28 | 0:22:30 | |
So when I first came to Hampton Court I knew that there were these apartments upstairs | 0:22:35 | 0:22:39 | |
that were derelict and that grace and favour inhabitants had lived in. | 0:22:39 | 0:22:45 | |
One night, one of the residents had gone to bed, and her candle fell and the bedspread caught fire. | 0:22:46 | 0:22:54 | |
Obviously that's how the fire spread through the palace. | 0:22:54 | 0:22:57 | |
It was one of those moments that I just thought, "This is it! | 0:22:57 | 0:23:01 | |
"This will be one of the subjects I deal with." | 0:23:01 | 0:23:04 | |
So I decided that I'd start with the apartment upstairs and where it started. | 0:23:04 | 0:23:11 | |
In the remnants of the fire they found a little invitation card | 0:23:12 | 0:23:16 | |
and so I've had this idea that she was just about to have a tea party. | 0:23:16 | 0:23:21 | |
So I decided that I would combine that story with the element of the fire. | 0:23:22 | 0:23:28 | |
And the aim of the painting was to take the viewer on a visual journey. | 0:23:28 | 0:23:32 | |
So the painting's really in two halves. | 0:23:32 | 0:23:35 | |
On the left-hand side, you see the damage and everything that happened with the fire. | 0:23:35 | 0:23:40 | |
And then on the right-hand side of the painting you see it being brought back to life again. | 0:23:40 | 0:23:45 | |
So you go on a sort of circular journey. | 0:23:45 | 0:23:47 | |
So as you look through the painting, you see different layers that are unravelled. | 0:23:47 | 0:23:52 | |
It definitely goes from left to right, | 0:23:52 | 0:23:54 | |
and you probably leave the painting through the mirror and the baroque figure on the right-hand side. | 0:23:54 | 0:24:00 | |
I spend a lot of time looking at things. | 0:24:04 | 0:24:07 | |
You go to museums and you go to galleries and see other people's work kind of gathering images | 0:24:07 | 0:24:12 | |
and reading about artists and reading about kind of historical episodes. | 0:24:12 | 0:24:18 | |
It's important to know where your ideas stand in terms of, you know, the broader kind of context. | 0:24:19 | 0:24:26 | |
When I was making these drawings, I was only limiting myself to red, black and white, particularly, | 0:24:32 | 0:24:38 | |
because of its kind of totalitarian sort of implications. | 0:24:38 | 0:24:44 | |
Sort of using that repeatedly with pattern | 0:24:44 | 0:24:47 | |
sort of reinforces the kind of political content in my work, | 0:24:47 | 0:24:51 | |
and then later on I've started using gold, | 0:24:51 | 0:24:54 | |
particularly the colour from gold leaf to add another texture | 0:24:54 | 0:24:59 | |
and also to kind of emphasise the idea of excess in, you know, actually using gold in the work. | 0:24:59 | 0:25:06 | |
You know, it surely gets that across. | 0:25:07 | 0:25:10 | |
And the wigs is actually a very easy and a very kind of tactile way of talking about... | 0:25:12 | 0:25:18 | |
a particular kind of excess. | 0:25:18 | 0:25:20 | |
All the ideas and all the implications of these kind of big historical ideas | 0:25:20 | 0:25:27 | |
can be contained in a single kind of quite disgusting object. | 0:25:27 | 0:25:32 | |
They're kind of symbols of power, but they're also kind of decayed power in a way. | 0:25:33 | 0:25:40 | |
When you're actually making the piece, it becomes its own self. | 0:25:41 | 0:25:45 | |
These kind of cultural and political interests will always be there, | 0:25:45 | 0:25:49 | |
but the kind of actual making, the process of making | 0:25:49 | 0:25:53 | |
takes over when you're when you're sort of producing work. | 0:25:53 | 0:25:57 | |
When we start making work, | 0:26:01 | 0:26:03 | |
it's it's usually a conversation that starts it off, | 0:26:03 | 0:26:07 | |
and that might be sparked by sort of one bit of information | 0:26:07 | 0:26:10 | |
or something that one of us is thinking about. | 0:26:10 | 0:26:14 | |
And then it becomes a process of talking about that. | 0:26:14 | 0:26:18 | |
And for me that's a sort of really interesting stage, | 0:26:18 | 0:26:22 | |
because say I've got an idea, it immediately gets transformed | 0:26:22 | 0:26:27 | |
when maybe Emma starts talking about it or Kenny starts talking about it. | 0:26:27 | 0:26:31 | |
So there's this kind of mutation of ideas, if you like, | 0:26:31 | 0:26:36 | |
that you wouldn't get if it was just me developing a piece of work. | 0:26:36 | 0:26:41 | |
Everything that we use is familiar to everyone, | 0:26:41 | 0:26:45 | |
from the technology that we actually use to view it, | 0:26:45 | 0:26:50 | |
i.e. the... | 0:26:50 | 0:26:51 | |
the TVs... Even from the...cameras that we use to like film things. | 0:26:51 | 0:26:58 | |
Everything's, like, obsolete technology, or it's been in people's households, it's familiar. | 0:26:58 | 0:27:03 | |
Just sort of developing it and putting it back out there. | 0:27:03 | 0:27:07 | |
Why do we specifically make visual art, it's because we're all quite visually aware. | 0:27:14 | 0:27:20 | |
I think there's a conceptual side which maybe you talked about there. | 0:27:20 | 0:27:23 | |
But in terms of the things we use, there's definitely a kind of visual theme running through that. | 0:27:23 | 0:27:28 | |
And that's something we can identify with and use. | 0:27:28 | 0:27:31 | |
TV'S PLAY | 0:27:31 | 0:27:33 | |
Lots of the work revolves around journeys. | 0:27:38 | 0:27:41 | |
Being absent and being present. | 0:27:42 | 0:27:45 | |
Quite often I go places and send, send messages back from them. | 0:27:52 | 0:27:57 | |
When I went to Antarctica, I made a drawing a day and sent it out by e-mail, | 0:27:59 | 0:28:04 | |
so it was kind of dispatches back from a journey getting further away, further and further south. | 0:28:04 | 0:28:11 | |
Pieces like the chair going into space. | 0:28:15 | 0:28:19 | |
It's sending this thing off on a journey that is sending messages back. | 0:28:19 | 0:28:24 | |
So it's, again, about feeling this distance | 0:28:24 | 0:28:27 | |
and I'm, in some ways, sort of, yeah, measuring the world, | 0:28:27 | 0:28:31 | |
sort of just wanting to know what it's like up there and sending something to report back and tell me. | 0:28:31 | 0:28:38 | |
To think through an idea you sort of have to manifest it in some way, | 0:28:41 | 0:28:46 | |
you have to put it down somewhere. | 0:28:46 | 0:28:49 | |
It's, I guess, the way that I try to understand the world around me. | 0:28:50 | 0:28:56 | |
I just wanted to have a sort of view of... | 0:28:58 | 0:29:02 | |
..initially myself sort of getting smaller and smaller in a larger and lager context. | 0:29:04 | 0:29:09 | |
At the moment I'm making work by using a method which in ceramics is called coiling. | 0:29:23 | 0:29:28 | |
It's like coiling a big pot. | 0:29:28 | 0:29:30 | |
I'm starting at the bottom, at the feet, and working up to the top, to the top of the head, | 0:29:30 | 0:29:36 | |
using small coils of clay, soft clay which I join together and just build up the walls | 0:29:36 | 0:29:41 | |
of the legs and the body, and then have to work down to coil the arms. | 0:29:41 | 0:29:47 | |
I'm leaving the evidence of the way they're built very visible. | 0:29:48 | 0:29:54 | |
You can see where each coil joins on to the next one. | 0:29:54 | 0:29:57 | |
I'm very interested in mixing materials, so bringing into the ceramic figure... | 0:29:57 | 0:30:04 | |
other media, found objects, other materials like plaster or wax or latex. | 0:30:04 | 0:30:11 | |
I've also got this kind of playtime going on where I'm going to start dipping heads into plaster | 0:30:11 | 0:30:17 | |
or wrapping fabric round things, and that's partly because... | 0:30:17 | 0:30:22 | |
Clay is a very strong material base to work with, | 0:30:22 | 0:30:25 | |
but there's so many interesting materials out there that I'd quite like to expand that repertoire. | 0:30:25 | 0:30:31 | |
Obviously, when you're making figures out of clay, | 0:30:31 | 0:30:35 | |
there's a form to be made. | 0:30:35 | 0:30:37 | |
You build a clay figure, and then you fire it to make it strong. | 0:30:37 | 0:30:42 | |
And then you can do all sorts of other thing to it, like paint it and glaze it. | 0:30:42 | 0:30:46 | |
So in terms of form, it's finished when you've decided, "That's it," | 0:30:46 | 0:30:51 | |
and it's going to get dried and it's going to go in the kiln. | 0:30:51 | 0:30:53 | |
For this particular project my studio is based on a building site, | 0:30:59 | 0:31:03 | |
on the edge of the building site at King's Cross. | 0:31:03 | 0:31:06 | |
And I actually have what were offices as my studio space. | 0:31:06 | 0:31:12 | |
When I'm thinking about starting a new sculptural work, I'll get very intrigued by a material | 0:31:12 | 0:31:19 | |
and think about different ways of using it and ways of moulding it or joining it together or casting it. | 0:31:19 | 0:31:26 | |
And so it's very much about the material as a starting point. | 0:31:26 | 0:31:31 | |
I often find myself having to really research materials. | 0:31:33 | 0:31:38 | |
I get very excited about using a material that isn't something | 0:31:38 | 0:31:43 | |
that would traditionally be used in an art context. | 0:31:43 | 0:31:47 | |
And kind of getting lots of this stuff and playing with it. | 0:31:47 | 0:31:52 | |
And it means that I end up going to quite interesting places | 0:31:52 | 0:31:55 | |
and talking to people about machines that they use in a very specific way. And they're always quite surprised. | 0:31:55 | 0:32:00 | |
The making part, regeneration, and the processes | 0:32:03 | 0:32:06 | |
that I've been observing on site have impacted into the work itself. | 0:32:06 | 0:32:13 | |
So there is this sense of something new coming about, | 0:32:13 | 0:32:17 | |
also something old being preserved, and also a reworking of materials. | 0:32:17 | 0:32:21 | |
So all of that kind of does very much fit in with my work. | 0:32:21 | 0:32:27 | |
I use pencils, I use marker pens, I use spray paints. | 0:32:28 | 0:32:34 | |
Um, I create 3D works, | 0:32:34 | 0:32:37 | |
I work on mannequins. | 0:32:37 | 0:32:39 | |
I do cut and paste collage. | 0:32:39 | 0:32:43 | |
I use big toner print-outs from commercial printers. | 0:32:43 | 0:32:47 | |
I have a whole palette of different techniques that I'm constantly re-learning myself and evolving | 0:32:47 | 0:32:53 | |
and picking up on that I use in my work. | 0:32:53 | 0:32:56 | |
If I've decided part of the process of creating | 0:32:56 | 0:32:58 | |
a certain piece of work is using silk-screening, | 0:32:58 | 0:33:02 | |
taking work out of my studio and going to the silk-screening studio, | 0:33:02 | 0:33:05 | |
where a lot of my friends are based, is a really exciting time for me. | 0:33:05 | 0:33:10 | |
I love all the pre-preparation. | 0:33:10 | 0:33:12 | |
I get down there, I can pull my screens out | 0:33:12 | 0:33:15 | |
from the racks, I'll clean them all out and get a new image in there. | 0:33:15 | 0:33:18 | |
It's hard for me to not get too excited and start making mistakes cos I just want to get printing! | 0:33:18 | 0:33:24 | |
Once you get your work on the print bed, and you get all the inks on the screens | 0:33:29 | 0:33:33 | |
and you do the first pull of the ink onto the canvas, | 0:33:33 | 0:33:36 | |
that satisfaction of getting such a crisp, perfect image | 0:33:36 | 0:33:40 | |
onto the piece of work is... | 0:33:40 | 0:33:42 | |
It's kind of indescribable, in a way. | 0:33:42 | 0:33:44 | |
In terms of materials and techniques, | 0:33:50 | 0:33:54 | |
I'm interested in | 0:33:54 | 0:33:56 | |
the physicality of...paint | 0:33:56 | 0:33:59 | |
and the presentation of a mark or a gesture within paint. | 0:33:59 | 0:34:06 | |
But I want to contextualise that | 0:34:08 | 0:34:10 | |
and place that within a space which is largely photographic. | 0:34:10 | 0:34:15 | |
'I almost always start with one or more photographic sessions | 0:34:15 | 0:34:20 | |
'with an actor or actress.' | 0:34:20 | 0:34:23 | |
Pose in front of the window here, with the book, and I'm going to... | 0:34:23 | 0:34:26 | |
Lean against it? Or do you want me to just... | 0:34:26 | 0:34:29 | |
'For which I've chosen costume, and may have built elements of a set. | 0:34:29 | 0:34:36 | |
'I organise lighting, and I use that | 0:34:36 | 0:34:38 | |
'to generate the bulk of the visual information I require.' | 0:34:38 | 0:34:43 | |
Yeah, that's good. | 0:34:43 | 0:34:45 | |
Good. A very different feel from the flesh. | 0:34:47 | 0:34:50 | |
I use digital printed information, | 0:34:51 | 0:34:53 | |
pigment printed onto paper and canvas. | 0:34:53 | 0:34:57 | |
I use more traditional materials such as pencil drawing, | 0:34:57 | 0:35:00 | |
charcoal and oil paint. | 0:35:00 | 0:35:03 | |
The way I work is a combination of working in situ, outside, | 0:35:27 | 0:35:31 | |
and working in the studio. | 0:35:31 | 0:35:33 | |
The work outside is obviously a very direct... | 0:35:34 | 0:35:38 | |
result of contact with nature, or with my environment. | 0:35:38 | 0:35:44 | |
Basically, everything out there is paintable. | 0:35:44 | 0:35:48 | |
Whether it's a bus in London or a gorse bush in the hedge. | 0:35:49 | 0:35:53 | |
Everything is paintable. | 0:35:53 | 0:35:56 | |
But I need... More than that, I need a reason to paint it. | 0:35:56 | 0:36:00 | |
The weather, the elements are affecting me directly | 0:36:00 | 0:36:04 | |
and what I'm making, as well as often the saltwater, | 0:36:04 | 0:36:10 | |
the...the mud, the vegetation, the insects. | 0:36:10 | 0:36:15 | |
It all gets somehow combined into what I'm doing, | 0:36:15 | 0:36:19 | |
often accidentally. But a lot of it is actually in the subconscious. | 0:36:19 | 0:36:23 | |
You're not actually aware of, you know, how many times | 0:36:23 | 0:36:27 | |
you're looking at something to make sure you've really seen it, it's just happening. | 0:36:27 | 0:36:32 | |
And it's only when I look at myself on film or in photographs of working afterwards | 0:36:32 | 0:36:37 | |
that I've actually seen that I've been clawing with my fingernails | 0:36:37 | 0:36:41 | |
or pushing it around with my toes, or... | 0:36:41 | 0:36:43 | |
I've actually mixed up a colour that wasn't in front of me. | 0:36:43 | 0:36:49 | |
I'll do that, then I'll retreat into the studio | 0:36:49 | 0:36:51 | |
and somehow continue working on it, but in a different way. | 0:36:51 | 0:36:56 | |
But eventually trying to reach that point | 0:36:56 | 0:36:58 | |
where basically I can't think of anything else to do to it. | 0:36:58 | 0:37:02 | |
I can't change it in any way. | 0:37:02 | 0:37:03 | |
And then I'm trying to find that point where I put the final full stop, the punctuation, you know. | 0:37:03 | 0:37:09 | |
We all look at places in different ways. | 0:37:15 | 0:37:18 | |
And all I'm trying to do is show people what I think, | 0:37:18 | 0:37:22 | |
what I see, when I visit a place. | 0:37:22 | 0:37:25 | |
What is it that excites me? | 0:37:25 | 0:37:28 | |
It's the world around me that excites me, | 0:37:28 | 0:37:31 | |
but it's also how you interpret the world around you that excites me. | 0:37:31 | 0:37:35 | |
And everybody interprets it in totally different ways. | 0:37:35 | 0:37:40 | |
Whenever I'm... I'm walking out in a landscape, | 0:37:42 | 0:37:47 | |
I always tend to bring stuff back with me. | 0:37:47 | 0:37:51 | |
Bits of stone, bits of grass, bits of twigs, bits of feathers. | 0:37:51 | 0:37:56 | |
And it's a combination of all those things. | 0:37:56 | 0:38:01 | |
I want to show people all the little detail, | 0:38:01 | 0:38:04 | |
the intricacies of what you see on the ground, | 0:38:04 | 0:38:09 | |
what you see through the filigree of trees. | 0:38:09 | 0:38:12 | |
How one thing is seen in front of another thing, | 0:38:12 | 0:38:16 | |
is seen in front of another thing. | 0:38:16 | 0:38:19 | |
How they're different surfaces, | 0:38:19 | 0:38:21 | |
different qualities of light, different textures. | 0:38:21 | 0:38:24 | |
And how you put it down on a two-dimensional plane | 0:38:27 | 0:38:32 | |
in order to show all that complexity, | 0:38:32 | 0:38:35 | |
I have to invent ways | 0:38:35 | 0:38:38 | |
of explaining that. | 0:38:38 | 0:38:40 | |
I tend to paint one surface and then I'll paint something over the top of that surface | 0:38:43 | 0:38:48 | |
and then there'll be another painting on the top of that | 0:38:48 | 0:38:53 | |
which is sealed in acrylic medium. | 0:38:53 | 0:38:56 | |
And it can be several layers. | 0:38:56 | 0:38:59 | |
You look through my paintings as much as across the paintings. | 0:38:59 | 0:39:04 | |
And you can definitely see each individual layer | 0:39:04 | 0:39:09 | |
and the gap between each individual layer. | 0:39:09 | 0:39:12 | |
When I work, I require total silence in order to reach a state of mind | 0:39:28 | 0:39:35 | |
in which my body, my mind and my work | 0:39:35 | 0:39:40 | |
are a single and harmonious unit. | 0:39:40 | 0:39:44 | |
When I paint I like to stand up. | 0:39:44 | 0:39:47 | |
And then to me to paint is like going to battle with yourself. | 0:39:47 | 0:39:52 | |
I have to win. | 0:39:52 | 0:39:54 | |
I have to bully the painting, you see. | 0:39:54 | 0:39:57 | |
Either by destroying it, or by keeping it. | 0:39:57 | 0:40:00 | |
And there's no compromise, and because of that | 0:40:07 | 0:40:10 | |
I think every painting that I manage to complete, I think is a victory. | 0:40:10 | 0:40:16 | |
I scrape, I splash, I change, I expand | 0:40:16 | 0:40:21 | |
and I evolve. | 0:40:21 | 0:40:25 | |
And I never know where I will end up. | 0:40:25 | 0:40:28 | |
I think it is this very challenge that keeps me going, | 0:40:28 | 0:40:32 | |
and it is also the unknown that creates such enormous | 0:40:32 | 0:40:37 | |
and irresistible temptation to go further and further. | 0:40:37 | 0:40:42 | |
As I paint, | 0:40:44 | 0:40:46 | |
I go through a spectrum of emotions. | 0:40:46 | 0:40:49 | |
Wave after wave of thoughts come to me. | 0:40:49 | 0:40:53 | |
And then what I usually do is use the brush to dip into the jar of colour | 0:40:53 | 0:40:57 | |
to which I feel the most passionate response at that particular moment. | 0:40:57 | 0:41:03 | |
Whenever my concentration has been disturbed, | 0:41:04 | 0:41:08 | |
or I have spent any time away from a piece of work, | 0:41:08 | 0:41:11 | |
it usually takes me some time to go back to it. | 0:41:11 | 0:41:17 | |
And if that happens I usually skip or do some stretching, | 0:41:17 | 0:41:23 | |
or practice my martial art moves. | 0:41:23 | 0:41:27 | |
And that gives me a lot of fresh energy to go on. | 0:41:27 | 0:41:31 | |
I always finish a painting in one go no matter how long it takes. | 0:41:31 | 0:41:36 | |
It could be two hours, three hours. | 0:41:36 | 0:41:39 | |
I have all the energy and patience in the world, | 0:41:39 | 0:41:42 | |
to make it happen and to await the new birth. | 0:41:42 | 0:41:45 | |
Critical evaluation from the outside can actually come from different sources. | 0:41:57 | 0:42:01 | |
Sometimes it can come from other artists, | 0:42:01 | 0:42:04 | |
but also in my position as a portrait painter | 0:42:04 | 0:42:07 | |
one of the most important criticisms is often from | 0:42:07 | 0:42:10 | |
the client, the sitter, | 0:42:10 | 0:42:11 | |
and how they feel about how I've represented them. | 0:42:11 | 0:42:15 | |
So I've had clients who've said, "Oh, that doesn't look like me. | 0:42:15 | 0:42:19 | |
"My nose is too big!" Or "Make me thinner." | 0:42:19 | 0:42:21 | |
And sometimes you have to strike a balance between pleasing your client | 0:42:21 | 0:42:25 | |
and doing exactly what you want. | 0:42:25 | 0:42:27 | |
So in that situation there, | 0:42:27 | 0:42:29 | |
you definitely have to respond to personal critique. | 0:42:29 | 0:42:32 | |
But then in my personal work, if someone doesn't like it, | 0:42:32 | 0:42:35 | |
if it's a technical issue, then I'll probably listen and say, | 0:42:35 | 0:42:38 | |
"Oh, thank you for the advice." | 0:42:38 | 0:42:40 | |
If someone says, "I don't like that cos it's red, I don't like red, | 0:42:40 | 0:42:44 | |
"it won't go with my bathroom," I think, "Well, I like it red." | 0:42:44 | 0:42:47 | |
The people that I try to please, if any, | 0:42:50 | 0:42:53 | |
are the people that are important to me. | 0:42:53 | 0:42:56 | |
I have people that I speak to that I bounce ideas off from, | 0:42:56 | 0:43:00 | |
and often they say, have you considered this, for example? | 0:43:00 | 0:43:03 | |
And I think it's the closeness of who they are that's important, | 0:43:03 | 0:43:07 | |
that will affect me to think about the collections I put out, | 0:43:07 | 0:43:11 | |
rather than a magazine or someone writing to say that they do or don't like something. | 0:43:11 | 0:43:16 | |
So from that point of view, it's a yes or no type of thing. | 0:43:16 | 0:43:20 | |
It depends who is saying it. | 0:43:20 | 0:43:22 | |
From a business point of view, absolutely, if a buyer came to us | 0:43:22 | 0:43:25 | |
and said they would consider buying if you made the jacket longer, | 0:43:25 | 0:43:29 | |
obviously you'd do that, within reason that it doesn't change the overall design. | 0:43:29 | 0:43:34 | |
But that hardly ever happens these days. | 0:43:34 | 0:43:37 | |
I think being new on the British fashion scene, we're at that stage | 0:43:37 | 0:43:41 | |
where people are sitting back and watching what it is that I do. | 0:43:41 | 0:43:46 | |
And hopefully the styles are all in the right place. | 0:43:46 | 0:43:49 | |
As a designer I've been doing good, | 0:43:49 | 0:43:51 | |
and from a business point of view, which is the collective Jacob Kimmie, | 0:43:51 | 0:43:55 | |
we've been doing good at the same time. | 0:43:55 | 0:43:57 | |
There are people that I feel that I want and need to impress. | 0:43:57 | 0:44:02 | |
And it's not necessarily the editor of Vogue, or a newspaper as such. | 0:44:02 | 0:44:08 | |
And I think that's the way I work, it's a need | 0:44:08 | 0:44:11 | |
wanting to make the customer happy, | 0:44:11 | 0:44:13 | |
in fashion, that's what it's all about. | 0:44:13 | 0:44:16 | |
A piece might be finished, be exhibited, | 0:44:25 | 0:44:30 | |
have been exhibited in the same form for ten years. | 0:44:30 | 0:44:34 | |
And then it will be in my studio and I'll be looking at it, | 0:44:34 | 0:44:38 | |
and I'll think, "You're not finished!" | 0:44:40 | 0:44:44 | |
And I'll work on it again. | 0:44:44 | 0:44:46 | |
And sometimes, it's better, | 0:44:50 | 0:44:53 | |
and sometimes I think, "Oh, I've ruined it!" | 0:44:53 | 0:44:57 | |
You paint something once | 0:45:06 | 0:45:07 | |
with one colour and think, "I'll fire it and see what it looks like." | 0:45:07 | 0:45:11 | |
and it comes out and you think, "That's enough." | 0:45:11 | 0:45:14 | |
And other times you paint... like one I've got here, which I think I might paint again. | 0:45:14 | 0:45:19 | |
Because I painted her with some red and then painted some glaze on her, | 0:45:19 | 0:45:23 | |
and I think she looks a complete mess! | 0:45:23 | 0:45:25 | |
She's either going in the bin or she's going to get repainted, | 0:45:25 | 0:45:30 | |
just to see whether something else can happen. | 0:45:30 | 0:45:33 | |
I think there are certain people | 0:45:45 | 0:45:48 | |
who, if they said something about your work | 0:45:48 | 0:45:51 | |
you would take notice. | 0:45:51 | 0:45:54 | |
It's whether you're bright enough | 0:45:54 | 0:45:56 | |
to understand what they've said is relevant to you. | 0:45:56 | 0:45:59 | |
Everybody interprets things differently. | 0:46:01 | 0:46:03 | |
There's the old adage that | 0:46:07 | 0:46:09 | |
"The viewer always knows much more than the artist intended." | 0:46:09 | 0:46:13 | |
Because there are so many more viewers out there, | 0:46:13 | 0:46:15 | |
and everybody has an opinion. | 0:46:15 | 0:46:17 | |
And in a sense, everybody's right! | 0:46:17 | 0:46:21 | |
If it's a good piece of art, it can cope with all that. | 0:46:23 | 0:46:27 | |
You know, because it has so many ways of being interpreted. | 0:46:27 | 0:46:32 | |
Somebody said in an exhibition I had, | 0:46:45 | 0:46:47 | |
"All your people look towards the right of the canvas. | 0:46:47 | 0:46:52 | |
And I looked at it and I thought, "They do!" | 0:46:52 | 0:46:55 | |
I'd never thought of that! Obviously it wasn't all, | 0:46:55 | 0:46:58 | |
but the huge amount of them looking to the right. | 0:46:58 | 0:47:01 | |
I think it's to do with reading, the idea of reading across. | 0:47:01 | 0:47:05 | |
And in the West we read from left to right. | 0:47:05 | 0:47:07 | |
That is really, really interesting psychologically. | 0:47:07 | 0:47:10 | |
Why am I doing that? And that made me rethink everything. | 0:47:10 | 0:47:13 | |
That was about ten years ago, somebody said that. | 0:47:13 | 0:47:16 | |
You think, "That's fascinating!" | 0:47:16 | 0:47:18 | |
When I paint... Usually I'm not aware of what I'm doing. | 0:47:25 | 0:47:30 | |
When I fully focus, my hand is guided by my heart. | 0:47:30 | 0:47:34 | |
And because I paint from my heart, | 0:47:37 | 0:47:39 | |
when it is finished, my heart will tell me to stop. | 0:47:39 | 0:47:43 | |
When I create, | 0:47:45 | 0:47:47 | |
I never consider the viewer's mind or what they think of my work. | 0:47:47 | 0:47:53 | |
When I paint, I paint with my heart and am very sincere about it. | 0:47:53 | 0:47:58 | |
And then up to my viewer to use their imagination to see it, | 0:47:58 | 0:48:02 | |
and use your heart to feel it. | 0:48:02 | 0:48:04 | |
You have to know a little bit about promotion. | 0:48:13 | 0:48:17 | |
A very good friend of mine, | 0:48:17 | 0:48:20 | |
who's reasonably famous, | 0:48:20 | 0:48:22 | |
always said to me that there are lots of people with their hands in the air shouting, | 0:48:22 | 0:48:27 | |
"Me, me, me, me!" And he said, | 0:48:27 | 0:48:28 | |
"If you're not one of them, it's definitely not going to be you." | 0:48:28 | 0:48:33 | |
For me as a portrait painter, | 0:48:33 | 0:48:34 | |
a lot of my income comes from commissioned work. | 0:48:34 | 0:48:37 | |
I feel very, very lucky that I am able to earn money | 0:48:37 | 0:48:41 | |
from doing something that I really enjoy. | 0:48:41 | 0:48:44 | |
When I was a student at university, | 0:48:44 | 0:48:47 | |
selling paintings meant that I didn't have to be a waitress, | 0:48:47 | 0:48:51 | |
which is just as well, because I'd really have hated it! | 0:48:51 | 0:48:55 | |
The way they come to me very often is they see my work in exhibitions. | 0:48:55 | 0:48:58 | |
So I make sure that I put paintings into exhibitions in London at least once a year. | 0:48:58 | 0:49:05 | |
The work that you put into that is your calling card. | 0:49:05 | 0:49:08 | |
People will see that and that's all that they will know about you. | 0:49:08 | 0:49:11 | |
So I do my best to make that the best painting I can. | 0:49:11 | 0:49:15 | |
And if I'm working in different styles, I'll maybe | 0:49:15 | 0:49:18 | |
aim the style to the exhibition and the market in question. | 0:49:18 | 0:49:22 | |
I live by selling my art. | 0:49:22 | 0:49:25 | |
But all my sales and exhibitions | 0:49:25 | 0:49:28 | |
are taken care of by my dealer in London. | 0:49:28 | 0:49:33 | |
And my job is now solely to produce some good work to sell. | 0:49:33 | 0:49:38 | |
And it was very hard, | 0:49:38 | 0:49:43 | |
difficult for me at the beginning. | 0:49:43 | 0:49:46 | |
And I had to do other jobs, | 0:49:46 | 0:49:49 | |
so that I had enough money to pay for my materials | 0:49:49 | 0:49:53 | |
and the rent of the little poky studio, you see. | 0:49:53 | 0:49:57 | |
Even nowadays I still have to be very careful about spending my money, | 0:49:57 | 0:50:02 | |
because I never know when my next painting will be sold. | 0:50:02 | 0:50:08 | |
And even I have exhibitions, | 0:50:08 | 0:50:10 | |
there is no guarantee they will result in good sales. | 0:50:10 | 0:50:15 | |
Over the years I've built up lots of different outlets for my work. | 0:50:15 | 0:50:19 | |
Um, for my originals. | 0:50:19 | 0:50:21 | |
When I was younger I just put on all my own exhibitions. | 0:50:21 | 0:50:24 | |
That's a great way to learn how to deal with people. | 0:50:24 | 0:50:27 | |
Over the years I've built up relationships with gallery owners. | 0:50:27 | 0:50:31 | |
When I produce a new piece of work, I send it to them. | 0:50:31 | 0:50:34 | |
Then they will include me in exhibitions. | 0:50:34 | 0:50:37 | |
Or you have a solo show, so you build a whole body of work. | 0:50:37 | 0:50:40 | |
And now I have quite a lot of outlets for my prints, | 0:50:40 | 0:50:43 | |
and I have a lot of different galleries that I deal with who sell my original works. | 0:50:43 | 0:50:47 | |
I invent work for myself, | 0:50:51 | 0:50:54 | |
in that I'll put my sculpture on the street, you know. | 0:50:54 | 0:51:00 | |
And I discovered that you can do that in England | 0:51:00 | 0:51:03 | |
without planning permission for 28 days. | 0:51:03 | 0:51:07 | |
So just by talking to arts officers in various boroughs, | 0:51:07 | 0:51:13 | |
I was able to put my work out. | 0:51:13 | 0:51:16 | |
And just by having this conversation about showing work, | 0:51:16 | 0:51:19 | |
they involve you in other projects and you generate work. | 0:51:19 | 0:51:23 | |
In terms of marketing or letting people see what we do, | 0:51:25 | 0:51:28 | |
the internet's really a quick and easy way to show people what we do from a distance. | 0:51:28 | 0:51:34 | |
Or, you know, wherever somebody is. | 0:51:34 | 0:51:36 | |
But also as a kind of way to make work | 0:51:36 | 0:51:39 | |
specifically for that format that anyone can also access. | 0:51:39 | 0:51:45 | |
And people then immediately get a sort of sense of what we're doing, | 0:51:45 | 0:51:49 | |
whether it's just from a DVD box or, you know, | 0:51:49 | 0:51:52 | |
from the sort of design of the website. | 0:51:52 | 0:51:55 | |
I think it's really important that what I do sells well, | 0:51:57 | 0:52:01 | |
because that's how I make my living. | 0:52:01 | 0:52:04 | |
If my pictures don't fit in today's interiors, | 0:52:04 | 0:52:07 | |
then people aren't going to buy them and hang them. | 0:52:07 | 0:52:10 | |
So I think if I have something that I particularly want to do | 0:52:10 | 0:52:14 | |
which is not very marketable, not very saleable, | 0:52:14 | 0:52:18 | |
then I'll do it and keep it for myself. | 0:52:18 | 0:52:20 | |
If I want to make a living, then my picture's got to hang on somebody's wall. | 0:52:20 | 0:52:24 | |
I do have a publishing company and they distribute the work | 0:52:24 | 0:52:29 | |
all over the world through major outlets. | 0:52:29 | 0:52:32 | |
They are people that I wouldn't get to myself with the originals, | 0:52:32 | 0:52:36 | |
so I'm really, really glad of that help. | 0:52:36 | 0:52:38 | |
I think the idea of wanting to be a fashion designer, | 0:52:43 | 0:52:47 | |
and I think the flamboyant image that's perpetuated | 0:52:47 | 0:52:51 | |
by what we think designers are all about, isn't real! | 0:52:51 | 0:52:57 | |
In fashion you're only as good as what your team is. | 0:52:57 | 0:53:01 | |
There is no Jacob Kimmie without the team. | 0:53:01 | 0:53:03 | |
And I think that perhaps is where the idea of, "Are you an artist? | 0:53:03 | 0:53:09 | |
"Are you a craftsman? | 0:53:09 | 0:53:10 | |
"Are you a business?" You know, "Are you a marketer? | 0:53:10 | 0:53:15 | |
"Are you a PR?" It is everything, at the end of the day, in fashion. | 0:53:15 | 0:53:19 | |
I teach to supplement my making. | 0:53:23 | 0:53:25 | |
But I also see my teaching as being quite important | 0:53:25 | 0:53:28 | |
to my own practice as well, because I teach fine art. | 0:53:28 | 0:53:32 | |
I'm talking to 18-year-olds mainly, who are interested in that area. | 0:53:32 | 0:53:38 | |
And so I go... When I teach and I work, I'm talking about ideas. | 0:53:38 | 0:53:45 | |
I'm talking about artists and exhibitions that I've seen | 0:53:45 | 0:53:48 | |
or they've seen, and it's part of the conversation. | 0:53:48 | 0:53:51 | |
So it does feed into my practice. | 0:53:51 | 0:53:53 | |
We recognised that the entrance into Liverpool, | 0:54:04 | 0:54:06 | |
its main gateway, its railway station, | 0:54:06 | 0:54:09 | |
environmentally was very poor. | 0:54:09 | 0:54:11 | |
So we knew we needed to do something positive, | 0:54:11 | 0:54:14 | |
we knew it needed to be a big scheme, | 0:54:14 | 0:54:16 | |
and so we've demolished a 13-storey tower, | 0:54:16 | 0:54:19 | |
we've demolished a series of 1970s shops, | 0:54:19 | 0:54:22 | |
and they're going to be replaced by | 0:54:22 | 0:54:24 | |
just a very simple public realm scheme, with ramps and steps. | 0:54:24 | 0:54:28 | |
As part of that, we wanted to populate it with public art. | 0:54:28 | 0:54:33 | |
The Liverpool commission, | 0:54:33 | 0:54:36 | |
they didn't ask me to come up with an idea. | 0:54:36 | 0:54:41 | |
I was selected on the strength of my work, | 0:54:41 | 0:54:43 | |
and then really, the brief is the site. | 0:54:43 | 0:54:47 | |
It seemed obvious to me that the site is kind of to do with travel. | 0:54:48 | 0:54:52 | |
The majority of people leaving Europe went through Liverpool Lime Street Station | 0:54:52 | 0:54:56 | |
and down to Liverpool Docks and got on ships going to New York, Canada. | 0:54:56 | 0:55:02 | |
I wanted to make a work that reflected | 0:55:02 | 0:55:05 | |
that sort of founding journey of Liverpool, in a sense. | 0:55:05 | 0:55:10 | |
I got on a container ship and travelled across the Atlantic | 0:55:11 | 0:55:17 | |
and finally ended up in this little town called Liverpool. | 0:55:17 | 0:55:22 | |
And on this journey that took four weeks, I made 194 drawings. | 0:55:22 | 0:55:30 | |
And then eventually they're going to be installed | 0:55:30 | 0:55:34 | |
in the ground of this new site | 0:55:34 | 0:55:37 | |
etched into York stone. | 0:55:37 | 0:55:40 | |
So as you arrive at Liverpool Lime Street, | 0:55:40 | 0:55:44 | |
you'll look out at the city of Liverpool | 0:55:44 | 0:55:47 | |
but through drawings coming from the wrong Liverpool. | 0:55:47 | 0:55:51 | |
I think public art is very important for a city. | 0:55:56 | 0:55:59 | |
I think there's something joyful about public art, good public art. | 0:55:59 | 0:56:03 | |
It actually provides an identity. | 0:56:03 | 0:56:05 | |
The way I approach a commission is to think about | 0:56:11 | 0:56:15 | |
and analyse the location, the place where the commission's going. | 0:56:15 | 0:56:20 | |
The brief of the Meeting Place was short but precise. | 0:56:20 | 0:56:25 | |
In terms of the dimensions, the weight, the height, the material. | 0:56:25 | 0:56:29 | |
Paul's brief was to create an iconic sculpture | 0:56:36 | 0:56:41 | |
that could sit beneath the clock, | 0:56:41 | 0:56:44 | |
symbolise the station as a meeting place. | 0:56:44 | 0:56:46 | |
But at the same time become famous, become talked about | 0:56:46 | 0:56:50 | |
and be a centre point for debate | 0:56:50 | 0:56:52 | |
but not detract from the architecture of the station. | 0:56:52 | 0:56:56 | |
It had to be romantic, accessible, sort of democratic. | 0:56:58 | 0:57:03 | |
And something that could easily be distinguished and remembered. | 0:57:05 | 0:57:10 | |
Paul quite quickly honed in on this idea of a couple meeting, | 0:57:13 | 0:57:20 | |
and that went through several different incarnations, | 0:57:20 | 0:57:23 | |
for example, a snogging couple we had first of all, | 0:57:23 | 0:57:26 | |
but we reminded him, "This is a British station, | 0:57:26 | 0:57:29 | |
"and has the requisite amount of reserve." | 0:57:29 | 0:57:31 | |
And so in the end the couple were... | 0:57:31 | 0:57:33 | |
Their heads were moved slightly so that they had a meeting of foreheads and a meeting of minds. | 0:57:33 | 0:57:38 | |
If the restrictions that are placed in the brief are sensible, | 0:57:38 | 0:57:43 | |
have been thought out and are realistic, | 0:57:43 | 0:57:45 | |
then it's stimulating and it helps focus the mind. | 0:57:45 | 0:57:47 | |
What has changed making public works | 0:57:47 | 0:57:50 | |
is my appreciation of the impact of my work on an environment, | 0:57:50 | 0:57:54 | |
and a factoring in into my thinking, | 0:57:54 | 0:57:57 | |
my creative thinking, the space and the knock-on effect of the work in that space. | 0:57:57 | 0:58:03 | |
It's tempting to want to go back and tinker with an idea. | 0:58:03 | 0:58:07 | |
In this case there was no time, it had to be done quickly and promptly. | 0:58:07 | 0:58:11 | |
People have to come across a work of art | 0:58:11 | 0:58:13 | |
and firstly be struck by it visually and physically. | 0:58:13 | 0:58:17 | |
But then if that's followed by an emotional attachment, | 0:58:17 | 0:58:20 | |
which leads to possibly other layers of interpretation, | 0:58:20 | 0:58:23 | |
that's the function that art should adopt. | 0:58:23 | 0:58:27 | |
Subtitles by Red Bee Media Ltd | 0:58:43 | 0:58:46 | |
E-mail [email protected] | 0:58:46 | 0:58:48 |