maandag, september 01, 2014
A place in the country.
"My Oxfordshire studio was designed by a good friend of mine, the architect Piers Gough, who coincidentally is a fellow Royal Academician. In order to get planning permission, the building had to look like a barn so that it fitted in with the local environment".
Keeping the light in.
"It turns out it's very hard to design a curtain for a triangular window. These are sails: a guy came from a shipyard where they build yachts, and he abseiled up there to fix all the hooks. The sheeting is totally opaque. We're in the countryside so it's nice not to be shedding a huge amount of light into the environment".
What happens in the studio.
"Painting. Even the sculptures, which are made somewhere else, come to me for painting. That's what I am anyway, really – a painter. A painter who sculpts.".
"That wood sculpture occupies the size of a reasonable wardrobe, and the wood can't go out of doors. It was very labour intensive to make that, with all the curving surfaces. I pretty quickly graduated to using steel or fibreglass – it's easier to make the forms, and if they can go out of doors it increases the amount of people who might be able to own one!".
From painting to sculpture.
"I spent a lot of the '60s developing a very stylised, very volumetric language for describing the figure in paint. Then I thought, if I'm trying to make it look three-dimensional, why not just make it three-dimensional? That produced the furniture sculptures, and after that the implications took off in several directions".
"When I'm drawing, I tend to rule out a set of rectangles in the proportions I've chosen to work on. It means I can play with an idea and develop it. Sometimes they get worked up and become interesting little drawings, but remain illustrations and never become a painting. If one of them has ever become a painting, you can tell because I've squared it up (in a grid) in order to enlarge it".
Framing the moment.
"I quite like this photographer (bottom right)… I've done some paintings where he's in the corner, because it's a nice metaphor for what the artist is doing".
A model subject.
"The painting on the left is of Kate Moss. I had a commission to paint her, and I ended up doing three paintings and a couple of sculptures".
"If you're interested in the subject, you know, it's irresistible to cut these things out. Some people collect pots because they're potters... I'm interested in anatomy".
Tools of the trade.
"I heard a long time ago that Cezanne had something like 30 different greens on his palette. Nothing is new.... I don't have 30 greens but I'm up in the 20s on some of the colours".
"So many people think that I use an airbrush, but no – if you've been doing it long enough it's just about having the right variety of brushes. I've been using this one for years. I don't have an assistant... The only reason I can see for having an assistant is that it would be nice to have someone clean your brushes! It just is such a drag". (bron: The Royal Acadamy of Arts, foto's: Eamonn McCabe)
vrijdag, augustus 29, 2014
Howard Hodgkin sits in his favourite chair in his north London studio.
The studio is in an old diary building and has the original ironwork around the ceiling area. (bron: The Guardian)
Howard Hodgkin in his studio, London, 2008. (bron: Deutsche Bank, foto: Ossian Ward)
Howard Hodgkin in his London studio. (bron: Dana McClure)
Howard Hodgkin in his studio by the British Museum in London. (bron: The Times Magazine)
(bron: The Guardian)
(bron: Dana McClure)
(bron: The Guardian)
"My studio is of necessity a very isolated building. Formally a workshop, and before that, a dairy. The room has a dirty glass roof, with dirty white walls, and dirty white floor. All four walls are covered with screens of different sizes, mostly even dirtier depending on their age. Each one conceals a painting, often a very small one, or at least small compared to the size of the screen, which enables me to look at one picture at a time and also to show them to visitors to the studio one at a time.
The brushes so neatly arranged on the floor (in a completely untypical-of-me fashion) are washed once a week by my assistant Neil. I have a "palette", not visible in the picture, which is a small table.
As well as the metal folding chair which you can see, there are two old, comfortable armchairs. The floor used to be washed from time to time, but this has not happened recently. It is too large an area to keep clean.
As my studio is surrounded by other buildings, it surprises visitors by its quietness and space somewhere near the middle of central London. As well as these two things, the most important thing for me is the glass roof, as I can only really work by daylight." (bron: The Guardian)
donderdag, augustus 28, 2014
Richard Hamilton his studio in Henley-on-Thames, Oxfordshire, 2007. (bron: Wallpaper*)
Richard Hamilton poses with works in progress in his studio in Highgate, London, in 1970. (bron: Bloomberg, foto: Chris Morphet)