Page 63 - Studio International - October1968

grapher. In my paintings the articulation of archi- Is there a connection between this desire for articulateness Yes, I do understand that. To put my reaction to the new
tectural elements has guided me towards a and the changes of technique in recent years? When I first paintings in non-aesthetic terms, I find them far more
reconciliation of contradictory elements. knew your work you used an elaborate form of collage; fluid, more relaxed and playful, witty in the juxtaposition
then you returned to the brush and now, I see, you are of trompe l'oeil columns, illusions of space and air and
In the new paintings there is a suggestion of trompe using spray guns. the curious repetition of cube-like projections, rampant or
l'oeil, even a hint of interest in larger areas, murals for I prefer the term papier coupé to collage—it was a acting as a frieze. A very Greek paradox, if I might say
instance. method which allowed me to arrange forms and so! But I'd like to return to the theatre...
It might be exciting, although I must insist that I colours (the papers being pre-painted by me) Oh God!
am not interested in simple decorations. until they arrived at satisfactory solutions. Now I
find I have the picture clearly in my mind before Yes I can see you suffer from a kind of artistic schizo-
My suggestion arose out of a reminder of Pompeian art or doing it. The spray gun is used to achieve an effect phrenia,-you have been made over-sensitive by insensitive
the work of the great Venetians, mysterious illusions of similar to industrial design in certain parts of the comment. What I find 'theatrical', or perhaps dramatic is
reality. That is why I made the dreaded reference to a picture. a better word, in your new work is the bringing together of
proscenium. At your last exhibition the paintings seemed objects and ideas to conclusions which are both rational
concerned with elaborate patterns, which had much in How important are techniques to you? There is a ten- and mysterious.
common with your sets for 'Romeo and Juliet'. Now I dency nowadays to be more involved with what is used and I'm afraid I don't know what you mean by
find a far more arresting play with spatial illusion. how rather than the final statement—in performance, a 'theatrical'—it's a term more abused outside the
I have always aimed at spatial illusion although I kind of artistic narcissism. theatre than within. What I feel about my new
was concerned with a very shallow space. I fear That is what I call the expressionist ethos! So far work is that I have arrived at it by pushing further
you see me as attempting a kind of home-made as I am concerned an artist can use his backside, or my awareness of what can be put together, and
hard-edge painting. any other part of his anatomy. I am only interested how.
in statements. I don't see why anyone should be
I know that some critics have suggested this, but you must interested in a graph of my emotions.
understand that writers and the public love labels—they
make life so much easier. Do you, incidentally, care much Have you ever considered three-dimensional form,
about audience reaction? sculpture?
I care to the extent that I believe one should be You must realize that only the two dimensional
clear and articulate. The problem is that outsiders surface interests me—not objects in space. That is
look and judge with an entirely different set of the point of the trompe l'oeil, an illusion of volume
references. combined with flatness.