Professional Practice part 5

Continuing the answers to most commonly asked questions, here's part 5

Where do you draw your inspiration from?

I am essentially a process artist - i enjoy painting, want to do it as often as I can, love to experiment with what paint does. That's my real inspiration, and somewhere along the line, I realised that landscape provided me with the structure to hang the paint, so that's what i do now. (I love the landscape as much as most people do). I am also interested in expressing the spiritual, primal, monumental - and landscape seems to provide the device to do this.

As for the day to day - best way to get inspiration, for me, is in the studio painting. Just start and see where it takes you! I am lucky to have had a residency in Bundanon and internalising that landscape structure over the 5 weeks I was there (working every day!) has provided a great base, so I can remember it and call on it at will. (I need to get back out there now, as I am waning in inspiration! ie I need to fill my soul again for the next lot of work.) I often start from a drawing, then draw from that drawing, then paint from the drawing, then let the painting talk to me as to what it needs. Thus, I waste a lot of paintings, but the good ones reflect something in me that isn't on the surface, that i can't get to otherwise (the "other" in art) and is unique (I hope).

Where do you draw your inspiration from? What is your process?

Do you have Professional Practice questions that need an answer? Post your comments here

Image: Cherry Blossom 2009 Oil on Ply 30 x 30cm

Exhibitions October/November

Thought I would let you know where you can catch my work, live and in the flesh, in the following two months:

Fri Oct 2-Wed Oct 14

Gallery 307, "Life & Land" (Three artist Group Show) 307 Sailors Bay Rd, Northbridge

Saturday 3rd -Tuesday 6th October

"Towards the Light" WAYS Fundraiser, Francis Keevil Gallery

Bay Village 28-34 Cross St Double Bay

Includes work by Elisabeth Cummings, Wendy Sharpe, Joanna Logue, Amanda Penrose Hart, Adrian Lockhart, Stephen Trebilcock and more

Thursday 22nd Oct -Sunday 25th October

Art Sydney (Gallery 307 Stand); Royal Hall of Industries, Entertainment Qtr, Moore Park

Tuesday 2nd November to Sunday 15th November (opening drinks Wed 3rd, 6-8pm)

"Trees for my Father" (Solo show)

Depot II Gallery,2 Danks St Waterloo

See my website (linked to title) or Here

Image: Gabrielle Jones, Golden Light, 2009, 65x50cm, Oil on Canvas

Professional Practice part 4

Here's Part 4 which answers the most common questions regarding professional practice I have received.

I am interested in the relationship between the gallery and the artist. What benefits/drawbacks are there in being represented by a gallery?

Gallery usually takes at least 40% + GST- some are 50% and others, apparently are going to 60% for emerging artists. That's the financial drawback, along with their restrictions on where you can sell your work. Top galleries may ask for exclusive dealing in Australia, but most are exclusive for the state, some only for your city. When starting out, there isn't a lot left after commission from your sale price, so restricting your selling elsewhere has severe financial consequences - and some lesser galleries are restricting sales as if they were top galleries - don't let them. Unless you get a top gallery -which is worth it no matter what (they build your name quicker than you can, get your prices up etc - for which you should be forever grateful to them because they have just saved you a bout ten years work) - it's financially better to start independently so you can build your name quickly by having more shows and increase your prices gradually (this isn't what I did, just what i learned).

Independence requires dedication - there's a lot of work in doing your PR, mailing lists, photography, hanging the work, ads, arranging grog, plinths, d rings, transport etc etc. And you risk a lot, financially - you may not sell anything, whereas a gallery usually does (tho' not necessarily in today's climate). Thus you should work out a "self promotion" budget and stick to it, so that it is money you are willing to invest in your art career; and not do it if you are not an organised person and willing to dedicate yourself to your art career.

Is this the same as your experience? What do you think are the rewards and drawbacks of exhibting with a gallery?

Do you have questions you would like to see answered? Post your comments and questions here.

Image: Gabrielle Jones "Sunset" 2009, Oil on Canvas 110 x 83cm

Professional Practice part 3

Part 3 answering the most common questions regarding professional practice.

In your experience, how does an artist get represented?

See lots of shows and talk to galleries when you do. They get to know the face. My first gallery began to ask about me - hence I told them of my art school and what I was doing etc. They asked to see some of my work - luck: I'm sure that they were looking for someone, but if I hadn't chatted, they wouldn't have asked me. Having one gallery makes it easier to get you another. When I approach other galleries, they will look at my work because they know I am a supporter of their gallery (they have seen me there) - even if they do not take me on (which has happened a lot in the present financial climate).

I think the best initial approach is to check that your work either suits the gallery's stable they have, or that you fill a type/gap in their stable which they may be open to. A printed portfolio, although expensive, seems to get attention nowadays - everyone else emails and the galleries' inboxes are clogged. Make an appointment first, by phone. If they won't make an appointment, ask to send them your portfolio/website address (they may not open it). Go to the gallery-tell them you like their gallery, show them you know their stable by talking about THEM and ask the gallerist in person for an appointment, at a time that suits them. Have a brag book with photos of your work ready and show it only if they won't make an appointment, but ask what kind of work you do - then you can show the book. Have a back up of a professional printed portfolio to send later, if they are at all interested, so they can keep it on file should future openings become available. And ring them or drop in from time to time (so they know you support them - see above!)

Before you approach the gallery, check out whether the gallery is financially viable - are they paying their artists and how long does it take? Check they are actually selling paintings - more than one friend has sold their work, but seen no money from galleries who depend on eager young artists willing to "sign" anything -allow galleries to do anything- so their work is exhibited.

A lot of galleries do see shows at First Draft and other ARIs etc, so go in these whenever you can, and invite the gallery to come see it.

Do you agree? Are there things I have left out? Post your comments here.

Image: Gabrielle Jones, "Tree Stack", 2009, Oil on Canvas 30 x 30cm

The Flower Show-Brenda May Gallery, Danks St

Wandered in to this delightful exhibition during the week.

I had been invited, but the name of the show meant that I nearly didn’t make the effort – flowers NOT being my favourite subject, conjuring up perfect pink petals and such.

It was the display in this Danks St corner gallery that excited me most in the complex, and glad I was to discover the strange (Claude Jones’ playfully rendered drawings of animals with flower tails), the misplaced familiar (the sculptural forms of Carole Wilson’s “Three memories”, rendered in floral carpet dating back to my youth or even earlier), and the creative craziness (Ruth Howard’s constructions involving impossibly small people on mushroom topped hills such as “The shootout”) applied to such a ..well, let’s face it, mundane topic. I also loved Helen Mueller’s works “Flowers (Warholifolia) Green and Pink, strange plaque-like concoctions of floral linocut and pint in wooden frames, a modern twist on a grannie’s sense of decoration; and the impossibly beautiful fine wall hung sculpture by Melinda Le Guay called “Sprite”.

Boring is certainly NOT what this show is. A short talk to the dedicated and hard working Brenda May revealed that the show took two years to plan, arrange and curate. And it shows. (The title was meant to be rather tongue-in-cheek, this being the third recession Brenda has had to endure. It relates to the fact that most people don't want serious art in a recession - "Flower paintings are nice!")

I particularly liked the collection of works on the left of the gallery’s entry but all sixty pieces in this exhibition work to present an interesting insight into contemporary art and a cross section of the variety of practice taking place in Sydney, despite the dreaded GFC. Perhaps the GFC is turning Sydney artists to recycled and cheaper materials–much of the work is in found objects, collage and pencil even – or making them, in their painting, even more resourceful!

And the work done by the GFC on the prices has been huge – with thirty nine works below the magic $1000 mark.

My favourite was the beautifully dark work in Mulberry paper, thread, ink and chinese paper by Fiona Fenech entitled, “Ring a Rosie”. A silhouetted young girl stands with machine gun in shadow, whilst finely stitched flowers ring her head, tumble on her dress and (perhaps strangle?) her feet. I hope you don’t buy it – I want it to be still there when I can arrange the cash!

On till 18^th October, 2008

Brenda May Gallery, 2 Danks St Waterloo. See the exhibition on line here

Images:Melinda Le Guay, “Sprite” 2009, enamelled copper wire, glass beads, waxed flowers and seeds, thorns, 95 x 37 x 10cm;

Fiona Fenech, “Ring a Rosie” 2009, Mulberry paper, Thread, ink, chinese paper 93 x 63cm.

A Gallery Owner's view-Professional Practice

Here's a link to a blog I visit occasionally. This interview says it all for professional practice. Amen!

Professional Practice part 2

Part two answering common questions relating to professional practice for artists.

How do you negotiate self promotion and what do you see as the most important way of promoting your art?

Self promotion is difficult for any artist - but a necessity (at least to some extent). The most important thing is to be confident in your work (even if you know you have a long way to go, you can be confident that this is quality work if you are critical enough to not show everything that you make because you made it. Edit well!!!) That way, you can answer the questions that come your way from potential associates, galleries and clients without squirming - if you walk the talk, people will believe you are indeed an "artist" - your confidence gives them confidence. So make sure the work is worthy of your confidence - be demanding of yourself.

My main sales come from people I have met in the usual course of the week - I am friendly and outgoing, and rarely push my card on someone - given only if they ask or give me theirs first. That way, I can contact them again (familiarity), refer them to my website/blog and ask if they mind being on my mailing list. Networking should be a natural thing, so I only pursue people I have liked when met. I go to exhibitions a lot and often talk with people there about the work (including the gallerists) if I am interested in it.

Maintain a mailing list; enter new names in from networking, and contact them whenever something interesting happens - new shows, an award received, a sale of old paintings etc.

A business card is essential tool - carry it with you everywhere.

Enter into every quality exhibition you are invited to - (schools, ARIs, Charity, self-hired spaces; art fairs) - with one proviso. Be careful how your work is presented -make sure the people exhibiting with you are professional and as determined as you are, and that the quality of the work reflects yours and that the genre/style/subject compliments yours (don't be all landscape artists, all street artists etc unless that is the theme of the show. That way, you are not all competing and you might even sell some work!) Make sure the work is hung well - very important. This is the best way to get your name out there.

Enter into prizes - start small and local. You might get some wins, and the area is usually inordinately proud of it's own, so you can get PR, become known as the artist and have people talk about your art. This can be expensive and time consuming (entry fees, CD's; Delivery to and from; waiting for couriers etc) so choose shows where you think the judge is likely to enjoy your work; and not too far away to start. This gets items to put on CV that gets more exhibitions; which gets more recognition etc.

Ads in art Mags/Publications like Art Almanac when you have a solo show on.

Let me know if you have any other hints or would argue against some of my ideas. Post your comments here.

Image: Gabrielle Jones, Cloudy Day 2009 Oil on Ply 30 x 30cm

Professional Practice -Part One

I was recently interviewed by a University of Wollongong Student regarding my professional Practice. So I thought I would post the answers over the next few blogs. Here's Part One

Do you see web tools such as a blog or website as integral to developing your artistic career?

A website is a must for any artist in this day and age. I use it to refer acquaintances (ie people I just met, interested in art or what I do etc. I give them my Business card, with website address, which is also essential); other artists (which helps them know you are serious - if they like your work you can show together, they might refer you to someone that matters etc); Students (a good artist is known by the fact that a younger generation is influenced by their work) and as a repository/personal record of my shows etc - ie how my work has changed, my growth. Galleries are sometimes referred to the website, however many prefer a printed portfolio or photos first.

I have only just started the blog -not sure if it is integral to my career. About one follower per month adds themselves (which means they think what I have to say is worthwhile). More people drop in and out - I get emails from Denmark, US and acquaintances tell me (unsolicited) they read it from time to time. I use it to store the writings I have collected over the years in one place, to record my thoughts and seek feedback on works in progress (mostly no-one comments, though). I also enjoy writing, so this is an outlet. I hope it helps to draw people to my website (the more links the better - I have now linked it to Facebook), and gets my name out there; and I want to show that I am a serious artist by of the content of my website (sometimes, painters are not seen as up-to date/serious in this concept driven artworld, and it is often difficult to show the breadth of your work, let alone your intellectual ruminations, otherwise).

I'd love to know what other artists and my readers think-Post your comments here.

Image: Gabrielle Jones

Speaking of Tuckson and Watters...

Frank Watters commented on my blog regarding the Tuckson show:

"I liked, very much what you have written about Tuckson. As you have noticed, he never signed or dated work. He hadn't really planned on exhibiting. He felt it would have been unethical because he was an art bureaucrat. A rare person! BUT he stored the work carefully.

As far as we can judge all of these were made between 1952 and 1956. The paper which they have been laminated to is Japanese not Indian".

Obviously, someone making art for the hellovit can out do all those of us who are wayliad by the serious pursuit!

Tony Tuckson -"Pairs," Watters Gallery Darlinghurst

I wandered into this gallery, knowing that I could reliably find something interesting at this iconic space of choice of many Sydney artists . I didn't even know that Tony Tuckson was on here, and what a joyful discovery that was!

I must preface this review with a comment: I often think that the work of deceased artists is denigrated by the post-humus exhibitions conducted by their galleries, digging up anything that is half decent and offering it to the name-hungry art "connoisseur" (with an understood tag line "buy now, very limited stock available"). Many artist's private musings, thoughts and scribbles alike are bundled up with drawings and artwork yet to be finished or to survive the artist's editing process and offered as works of value from a genius' mind. I understand that these items have an academic use, and students of art and history love and need to know what the artist was thinking, musing and scribbling about. But I think that the artist's gallery should donate such work to the appropriate galleries or museums and resist the temptation to make money, while protecting and enhancing the reputation of the artist who, in life, has enriched them in more ways than one.

That said, this exhibition does not fit the above category. Many of the works are easily identified as Tucksons, with the added bonus of displaying the influence of Ian Fairweather -two for the price of one! (According to Frank Watters, Fairweather was one of the few artists whose work Tuckson owned.) I hadn't picked up this influence before, but these works display the link so clearly that I think I must have been blind not to realise it. That discovery alone is worth seeing this exhibition.

But -there's more. Tuckson reveals himself to be a master of gouache - the way he moves it around the page and lets it dribble and fall shows a skill level easily as strong as his oil works, for which he is better known. Further, the sheer volume of the sketches, mostly in ball point pen, emphasises the dedication of this artist who must have been drawing every minute he wasn't being the (full time) Deputy Director at the Art Gallery of New South Wales! No lunch break for this guy.

Some of the works show an obvious influence from Picasso and other artists, being executed in a search to discover and internalise how these works were made - the "art" in the paintings. My only criticism of the show is that none of the works have a date on them so I can locate them in Tuckson's history and in relation to what was happening in the world at the time -but that's probably because they weren't dated by the artist, whose full time job seems to have allowed him a freedom to paint and draw whatever he pleased, without concerns for his "career" as an artist or where the next dollar was coming from (a lesson duly noted by this artist!)

Apparently, these works would not have been able to be exhibited even a few years ago, such was the state of the paper that was used -any piece that came to hand. However, the Watters staff were insistent that these works needed showing, and discovered that a lengthy process of lamination onto a special Indian, acid free paper would preserve them. This and the framing costs mean that the gallery stands to make little profit from this exhibition.

Do yourself a favour and go see it - on till 3rd October

Image: Tony Tuckson, td2914 Gouache on paper 55.9 x 78.6cm

Ross Laurie, Damien Minton Gallery till 29th Sept

AAAAAH! Ross Laurie. What Can I say? Loved, Loved, Loved this work.

As Damien Minton, Gallery Director said in his heart-felt congratulations to Laurie on opening night, “Ross has struggled for these works. None of them are easy. But they are generous, luscious works , the result of a very giving nature. Ross wants to give and he has. I will enjoy coming into this gallery for every day of this month, to look at these paintings.” And he wasn’t exaggerating! You could look at these paintings every day, at length, for many months or decades to come.

Laurie works in layers – apparently scraped and added to over, in some cases, a very long time. I couldn’t see much evidence of scraping –all thick, sexy paint applied in swathes of colourful confidence reminiscent of de Kooning but in a language Laurie has developed to mark his experiences in the Walcha district of NSW. Smudges of oil stick peep from under the blanket of luscious paint; edges of raw canvas; dry brush on top of wet and slick lines over thick doonas of colour.

When I saw the invitation cover shot, I presumed that Laurie was doing more of the same from his last two shows at Minton’s gallery, and worried that he may have become formulaic (and who could blame an artist for producing successful work for an exhibition, especially since it’s very nature is risky enough to entertain and challenge you for years to come). No such thing! Laurie is the real deal – he has taken chances and broken through with an unmistakable “Laurie” style but into new territory, producing a number of wonderful, significant pieces, the best of which is either “Two stops at Ginger’s Creek” (Damien’s choice and my initial one) or “Landscape for Myf”. “Day trip to Scots Crossing” is also a beautiful, if less risky, triptych which will give many satisfying hours of contemplation.

Laurie has been painting solidly for a lot of years, but apparently has only found his ouvre (right at his back doorstep, who'd a thunk it?) in the last decade. Damien Minton has shown his work, first in his Newcastle gallery and later at the beautiful premises in Redfern (Great Buckingham St, Redfern Park end), so the two have been loyal partners for a while now. And the mutual respect is obviously paying off. The prices are still reasonable, and I would have loved to have bought another (I impulse bought one of his works on paper from the last show, and have been glad I did ever since!)

There is an enormous amount of work, each piece speaking with the others but marking a territory which is solely its own - and who could ask for more? This is the third solo show of Laurie's that I have seen, and I can't wait for more.

Image: Ross laurie, "landscape for Myf" 2009 Oil on canvas 1700mm x 2100mm

Undercover Painter: Gabrielle Jones - dialogue with paint

Undercover Painter: Gabrielle Jones - dialogue with paint

Interview with "Undercover Painter"

I started reading this blog when the writer commented on one of my posts. It's a great collection of works and artists of interest to the self named "Undercover Painter", who keeps her blog to maintain connection to the artistic community, keep herself artistically stimulated, and learn more about painting in the process, while earning a living and attending to being a mum takes precedence for a while. I have spent many hours checking out the work featured in her backlog and have enjoyed finding artists, especially international ones, that I did not know about before.

Anyway, we had a long talk in my studio as she was interested in finding out how I "tick" (as if I know!) She had some very perceptive insights and made me articulate my artistic considerations, both formal and conceptual, so that I actually began to understand them. There should be more of it! We got along like a house on fire, and will meet up again at my solo show in November 4th (Drinks with me!) at 2 Danks St Waterloo.

The interview is linked to the title above, or her if that doesn't work http://undercoverpainter.blogspot.com/2009/09/gabrielle-jones-dialogue-with-paint.html.

My Website is here

Image: Gabrielle Jones "Cross Over II"2009 40 x 30cm Oil on Canvas

Steven Harvey "Ark 44: Paintings from Kakadu"

When I first picked up the invitation for Steven Harvey's new exhibition at Liverpool St Gallery, I had just seen the work of a skillful photo realist painter, and was wondering if I shouldn't pursue that type of art instead of the abstract landscape I had been grappling, struggling, fighting with and possibly drowning in. Seeing Harvey's work changed that straight away - if I could ever paint like him, the struggle would be worth it. Abstraction IS my artform of choice. Period. No Comparison.

So I saw the show today...it's not an easy one, and demands time from the viewer, which is more than rewarded by the experience of sinking into the cool dark canyons of "Ark 44 Jim Jim Falls" and "Pine Falls Kakadu". I swear I could hear the birds! How does he do it? Paint refuse bubbles up from under layers of scrapings and trowelling, or hint at a substrate not quite there, or evidences a mine full of other workings underneath; exposing not much more than the fact that the eye sees more at a glance than the brain comprehends over time.

I happened to run into Steven, who told me he spent only two weeks in Kakadu, but all the works on paper were done and finished there. He then worked from other abstract drawings he made on site, then from these drawings again, further abstracting them until he reached a concentrated, simplified experience of the land around him. (It was great to discover he works in a similar process to me!) These works are apparently simple, but monumental in their effect on me and the wall that could barely contain them- wonderful objects exaggerated by the "double canvas" construction, where the sides are painted elements from his abstract drawings.

The works on paper are all gorgeous and rendered on hand-made paper in Indian powdered pigment - the small work "Long Shadow, Ubir Rock Kakadu" is a beautiful piece of unexpected colours, freshly painted simplicity and an almost "primal calling" that, to me, represents the best of Steven' work and was offered here at an unbelievably reasonable price. Oh the pain of no money!

Take the time to let your eye roam the surfaces (and sides) of these works; marvel at what seems easy yet speaks volumes in a quiet but very insistent, authoritative voice. On at Liverpool St Gallery, Darlinghurst until 1st October

Image: Steven Harvey, Long Shadow, Ubir Rock Kakadu 2009

Blake Prize

Went to the opening of the Blake Prize at the new(ish) NAS Gallery - a really beautiful space of two storeys and sweeping staircase that is a credit to the alma mater. It was packed!!! So many seriously arty people and a great mix of artists there. Generally, I think it was a good exhibition, much improved by the new direction of encouraging investigation of a broad definition of "spirituality". Hence, the winning video Rapture (silent anthem) by Angelica Mesiti recorded the heightened state of people at a rock concert, using a camera hidden in the stage, and thereby, also alluded to the darker side of fanaticism and religious emotion. It really was enigmatic - a great touch removing the music from the track, alienating the action from the source and focusing on the strangeness of the young ecstatic faces.

I also enjoyed Fiona White's "Brother's Keeper" painted in enamel paint, referring to her days on the mission. I first saw her work in the "Culture Warriors" exhibition (which, I read in SMH, is opening in Katzen Art Centre, American University, Washington) and it has lost none of its power to me- a lovely blend of childish naivety with a heavy execution and barely realised faces, that carry much darkness in their story telling. The photography in the show is generally of a high standard; the ceramic "OmphalusV" by Avital Sheffer is beautiful, and Guy Maestri's "Google Earth, Faith or Fear", although poorly titled - I mean, its a fact, get over it- was well painted in his Archibald Winning style rather than his usual expressive manner, and the interesting/weird subject demanded attention.

However, there were a few "Names" that just didn't deserve to be there, but their iconic style applied to, say, the execution of a cathedral (how deep and thought provoking is that?), showed that, although the society was willing to expand its acceptance of what constitutes "Sacred Art", they weren't willing to offend some people ("mates"?) who are seen to be the real thing in the commercial market.

And there was also a piece of canvas, badly cut (not straight), pinned to the wall (no frame) with repetitive dabs of red on an ochre background (not well executed), which we were expected to accept as sacred because it looked like it was done by an indigenous artist (who hadn't painted much before). What an insult to all those who actually spent time thinking about spirituality, painting for weeks and months, producing good work, but still missed out (Me!)

Anyway, found a great video on uTube linked to the title above and here in case that doesn't work

http://www.youtube.com/watch?v=orYO8a5nWNI

Enjoy!

Image: My Brother's keeper, Fiona White

Ursula Kolbe, Charles Hewitt till Sept 15

"When I remember you, Beloved Tango" is a lovely, poetic exhibition by this artist, working consistently and quietly as she does from her 1+2 studios at Rozelle without being "on the Scene" (at least as far as I know). I was going to see the still life show there and delighted in the discovery of this one upstairs.

This show remembers, yearns for, delights in the dance of the title, which is now forbidden to the artist who has lost a toe to Melanoma. Whilst some paintings pull you in with their colours and reward you with their embedded text and their titles (for example, "Song of a City I've Known in a Dream" and Dancing with Eyes Closed I-VIII"), it is the surprising sculpture which I enjoyed the most. Shoes in states of decapitation (toes or heels only) take flight ("El Tango Diablo") or dance or plummet on beautifully painted or wire bound pedestals made by the artist, which serve to explain the emotion or thoughts of the artist at the time she was making them. I loved "El Tango" -the juxtaposition of the large, game fish style four pronged hook placed gently above two black toes of dancing shoes, which lifting in movement said it all to me.

Hurry - only on for a few more days in the upstairs gallery.

Images: Ursula Kolbe "Mi Noche Triste IV" and "El Tango Diablo"

More quotes on the Artistic Process

"The only way to learn about new styles was to make a great deal of art." Milton Avery

"During these twelve years (after arrival in New York in 1925) he allowed himself the freedom to experiment without feeling the need to freeze his art into a permanent style. His openness to new ideas, his obvious talent, and his ability to wait patiently for maturity made him a role model". Robert Hughes about Milton Avery,

" The most important tool the artist fashions, through constant practice, is faith in the ability to produce miracles when they are needed" Mark Rothko

"If anyone works long enough on anything, inspiration occurs a bit" Frank Auerbach

"An artist should observe nature, but never confuse it with painting" Picasso

"We will discover the nature of our particular genius when we stop trying to conform to our own, and other people's models, learn to be ourselves, and allow our natural channel to open" Shakti Gawain

Image: Gabrielle Jones, "Night Storm" 2008, 122 x 152 Oil on Canvas

More Quotes - On Process

“Art is a way of thinking things out differently” Gerhard Richter

“I like the process of images and information filtering through your body – which stimulates reaction to create marks which collectively make some sense.” Jenny Saville.

“The object is so important to me that I take a great deal of trouble over my choice of subjects. It is so important, that I paint it.” Gerhard Richter

”For me it’s about the flesh, and trying to make the paint behave in a way that flesh behaves. Using its material quality which ranges from a stain to something thick and juicy to something quite dry….Because I take so long to make work, I like to layer the paint like a network: paint on top of paint. It’s almost as if the painting has had a life of its own by the time it’s finished. Its lived a life. I have a dialogue with it…sometimes it dictates to you what it wants to do, and sometimes you’re dictating to it. It’s a real relationship. When the painting starts to suggest its own direction, that’s when the process is the most stimulating….I want the feeling that you don’t only command the piece of work, the piece of work commands you.” Jenny Saville

“You always project your own physicality upon the image” Luc Tuymans

“…my paintings, whose immediate cause is my inner state, my happiness, my pain, in all possible forms and intensities, until that cause no longer exists.” Gerhard Richter

“Part of the job is to work, as far as possible, for joy.” Bridget Riley

Image: Gabrielle Jones "Reflection" 2008 Oil on Canvas 122 x 152cm