Page 37 - Studio International - February 1966

Tyzack He's just another member of society. I think the Lucie Smith What about teaching ? You teach three
old 19th-century concept of the artist as a long-haired days a week, don't you ?
bohemian who was something rather special is just Tyzack Yes, at Cardiff College of Art, and I see the
nonsense. teaching field as very much part of the way I think and
Lucie-Smith The artist is a man who gets on with a job ? feel as a painter. One is very much parallel to the other.
Tyzack He's a man who has his own personal problems Not that one teaches one's students to paint in the way
to get on with, and this is something he does. He that one paints oneself. I think it is very much more to
doesn't need to make a fuss about it. do with letting the individual develop as an individual.

Left
Byzantine 1964
Co-polymer emulsion on board
70 x 70 in
Right
Seventy-Two: Seventy-Two 1961
Co-polymer emulsion on board
London Group selection 1962

Column 1962
Lucie-Smith This kind of contact with other people's
Co-polymer emulsion on board
needs and problems is a stimulus to paint yourself ?
72 x 48 in.
Tyzack I think it is valuable, certainly.
Lucie Smith So the contact that you have with the
world isn't really the old romantic contact with nature ?
There are no suppressed images in your paintings, for
example ?
Tyzack No, there is no underlying English landscape.
My paintings have something to say about movement;
they have a lot to say about colour, about the impact of
coloured forms on each other, about surface drama,
about surface tension. I think really all those things are,
in a sense, equivalents of one's own 20th-century
way of life.
Lucie-Smith And this is what 20th-century painting
ought really to be about?
Tyzack I wouldn't be as dogmatic as that. This is just
my way.
Lucie Smith And how do you see yourself developing ?
Tyzack I don't really know. I think one really edges
towards something that, in a sense, is a mystery,
something unknown. I think if one did know what the
answer was, there would be no reason to paint. One
would just stop and want to give up.