The opening night of “Nude or Fully Clothed” at Nude Tin Can Gallery in St Albans went very well. Very pleased to make a sale, which always puts me in a good mood. But also it was such a well organised event (busy, but not overly crowded), that the whole evening shot by, with plenty of interesting conversations.
I should add that the journey to St Albans was surprisingly easy – less than 30mins on Thameslink from St Pancras. The exhibition continues until the 29th January, and is well worth a visit.
So, it’s finally here. After toying with the idea, experimenting, hesitating, prevaricating, I have finally committed to commence sittings for my “Who Am I” series.
The idea is simple enough, but the execution of the idea has proved problematic. I’ve struggled to think of a way to convince strangers to pose naked in my studio, in an unflattering direct light,… Paid only a token sum, and portrayed anyway that I see fit.
It’s all about identity. Our sense of who we are, or more specifically, who “you” are. When you take away the fineries, your props, and you strip yourself down to your bare naked self…, is that a more honest account of who you are? Or are our clothes and embellishments just as much about who we are? And what of the viewer? What are they to make of a subject who has been stripped of all those things that would normally hint at social status and personality?
So the idea evolved from a commission (above, painting on left). The commission was for a naked portrait, of a guy about whom I knew nothing. At first I didn’t enjoy it…. saw it as a chore. But slowly I began to feel a strange sense of liberation, a freedom in how I described this stranger. At first I was concerned about how they’d view my “interpretation” of who they are. Then I started to think that maybe my interpretation is just as valid as their own self-image.
So my idea, my project, is to portray a series of “strangers” – a series of paintings of people standing naked in an anonymous space, with no clue as to their identity. I will be as ignorant as the viewer, so as not to taint the experiment.
So what is the point? Is it to ask if we are all the same deep down, beneath the veneer of our attire? Or is the opposite? Will someones personality shine through regardless? What is a more valid interpretation of a person’s personality? Is it how they view themselves, or how others see them?
If you’re interested in participating in this little experiment. do get in touch (email on contact page). Just remember not to tell me anything about yourself.
I’ll be showing my diptych “unnamed portraits” in the London Ultra exhibition at The Bargehouse, London SE1 9PH. The show runs from the 6th to the 9th December, 11.00-18.00. Preview party is on the 6th December, 18.00-21.00.
I’ve been working on ideas for a new series of paintings for a while now, and it has got me thinking about why I paint the subjects that I do, and what are the real themes and ideas that I am trying to explore. Why do I paint naked bodies and not flowers, boats or trees?
What springs to mind when you think “naked”?…… Exposed?.., self-conscious?.., vulnerable? These are what I feel when I imagine myself naked. Another person might say liberated or sexy. I know from the experience of showing my paintings over the years that people’s perception of nudity varies wildly. A large number of people, for instance, are simply unable to dissociate nudity from sexuality.
“Honesty”. If you strip a subject of all its decoration and embellishments, isolate it from its surroundings and props, are you left with the true essence of that subject? Does a painting of a person thus exposed actually say any more about their true character? Is it a more honest depiction than if they were in their chosen attire and makeup?
“Relationships”. In any depiction of a person who posed in front of an artist, there are at work dynamic relationships between the artist, the model and the viewer. Just as the viewer will bring along their own preconceptions of the artist and the subject, so the artist will, during the sitting, form their own opinion of the model’s personality. Subsequently, however they try to honestly describe what they see, the artist’s depiction will always be tainted by their own views. This is what distinguishes a painting from a photo.
“Identity”. Who am I? What am I? These are questions artists and philosophers have been asking through the ages. Although it seems impossible to ever give a truly honest account of the world around us, still they strive to achieve it. I wonder if, when a model poses, if I know nothing about the model, would I be better able to give an honest description of them? Or would the work be somehow diminished if I didn’t know who they were or what they do? I think it’s worth a go. Anyone interested in posing nude for this new series is welcome to get in touch. False names encouraged 🙂
Well, this years open studio event at Leegate House has been and gone. Many thanks to those that made the journey to this little corner of southeast London. Thankfully the heatwave abated, just for the day, and we didn’t all melt in our studios.
These open studios events are a prerequisite for studio providers to maintain their charitable status – to demonstrate they’re “engaging with the community”. In my experience, many studio providers will only make a token effort, and most artists will see it as an inconvenience.
I’m pleased to say that Bow Arts treated this event with a lot more enthusiasm than some other studio providers I’ve been involved with; as did most of the artists here in Leegate House – it was the most enjoyable open studio that I’ve taken part in. Some of the nicest conversations I had were with local people who’d seen a flyer in the local Sainsburys, and thought “I must go along to that”. I spend most of my time locked away alone in this room on the fifth floor. It’s actually quite nice opening the doors to the public once a year.
I’ve started work on a series of headless nudes. It’s a development of some figure studies I have been working on. I was interested in seeing to what extent a sense of the sitter’s identity could be conveyed if, first, they were stripped of their clothes, and then, as in the case with this painting, their heads were cropped from the painting.
I had a life drawing session with a new model last weekend. I want to start collecting material for a new series of paintings, where the model is set within a domestic environment, in natural poses; either relaxing, bathing or doing chores. It’s a return to a theme I worked on about ten years ago.
The sitting went well enough. As it turned out, we didn’t move out of the kitchen, as the light was so good in there.