Saturday, 19 December 2015

Influence #1: Lucio Fulci

The influences that I'm going to post in the coming months are in no particular order and are in no way exhaustive. I'll kick off with one of my favourite film directors, Lucio Fulci.

Possibly the first thing that springs to mind about Fulci's films - if you're in any way shape or form aware of them - is the gore. The extreme gore. The extreme gore that the director dwells on for a rather disturbingly long time. And don't get me wrong, I do quite enjoy that kind of thing, but it's not necessarily what I want to paint. I prefer an approach more along the lines of psychological horror. So, I hear you say, what's Fulci doing as one of your influences? I'll illustrate why with an image:

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It's all about the atmosphere that he and cinematographer Sergio Salvati create. It elevates his films above other horror films made at the time (and indeed now). Take the above image from the exploitatively titled Zombie Flesh Eaters: there is a strong feeling of dread but it's backed up by the poignancy of the figures that walk toward the viewer as shadows of their former selves. Imagine a different lighting scheme and the figures charging forwards teeth bared and that emotion is lost. I can't say that this image was consciously in my head when I painted 'Descent From Möbius Wood' (see below), but looking at it now it obviously was an influence on me.

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The low budget nature of these films that were filmed in the late seventies and early eighties has led to a grainy grungy look that has been lost in modern horror films that are generally coated in a high-def CGI shine. I think that this is one of the reasons I've decided to focus on traditional paintings rather than working solely in Photoshop. It is easier to dirty things up and imperfections in the illustration board actually add to the overall effect.

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Another noticeable factor in these images is a lack of saturation. The colours are mostly very subtle shades of grey. I actually spend a lot of time on subtlety in the colours through the mixing of the paint and the use of very thin washes. I mix my greys using the three primaries and although it can be time consuming getting exactly the right colour tint - just a little bit of paint can dramatically shift the colour - it is visually interesting and adds movement to an image.

I will leave you with a few more gorgeous shots from Fulci's films to be perused at your leisure. The last, from The Beyond, is so indelibly imprinted in my brain that its influence has crept into my next painting that will be revealed very soon.

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Images from Lizard in a Woman's Skin 1971, Zombie Flesh Eaters 1979, City of the Living Dead 1980, The Beyond 1981 and The House by the Cemetery 1981.

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How I Gave Up A Perfectly Well Paid Job And Became A Professional Artist Instead: Part 3

So far I've dealt with leaving teaching and how I can afford to become an artist, but I haven't looked into what has led me into a career in art.

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My first memory of drawing is from when I was five. I obviously drew before then but this has stuck in my mind ever since. I had been to see a certain film set in a galaxy far, far away and at that tender age I didn't know the full extent of how revolutionary Star Wars was but I was well aware that it was special. I came straight home and started drawing TIE fighters. My mum was amazed at how well I could remember the details. I don’t think that’s down to my powers of observation, more to the quality and originality of the designs. At the time video and DVD didn’t exist - and it took a good few years for films to appear on television - so there was no way to relive the film experience other than through books, comics or seeing the film again - while it was still showing.

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Unlike now, children’s television started at about 3:45pm and went on until 5:30pm. And that was it, apart from a little slot midday when Rainbow and Mr Benn etc. would be shown. So for most of the time children had to fill their own time. I loved making things with cardboard boxes or drawing things on any spare scrap of paper I could find. My gran and granddad, in an early form of recycling, used to save odd bits of card in a drawer. I was forever in there using these precious pieces of card for drawing and making models with. (That’s when I wasn’t playing crib with my granddad.)

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In ‘The Numbers Game’ by Chris Anderson and David Sally - a book about football statistics (or alternatively, how to take all of the fun and entertainment out of football) - the authors argue that talent is something that develops through practice. I would agree with that to a certain extent although physical attributes obviously contribute to some sports as with Michael Phelp’s swimming. But I think that I’m not too bad at art because I’ve practised so much. There are certain aspects of art that I consider myself to be a bit duff at. When I think about why, it’s because it’s something that I haven’t done often. There is no quick fix. I need to bear this in mind with figure drawing and stop moaning about it and get on with actually doing it.

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Education can help as well as loads of practice although my education in art was mixed to say the least. Some of my teachers were good and some weren’t. I made the strange A-level choice of doing Maths, Further Maths and Art and initially I wanted to do Art at university. Eventually, after much cajoling by teachers who convinced me that my job prospects were much better doing maths, I swapped to do a degree in Pure Maths. (Strangely, Pure Maths is more of an art form than Applied Maths. It’s all about finding elegant, beautiful solutions to problems. Often there aren’t any real world uses. I still think I should have a BA rather than a BSc.) It’s a good job I didn’t go for the Art option because I only got an E. My whole year group did badly, with most failing, and at that time having it remarked was a costly undertaking that we couldn’t afford. So I got on with it and enjoyed the fantastic job prospects afforded by my Maths degree. (Basically, if you didn’t want to be an accountant or actuary you went into teaching. Great. The picture below shows why teaching was my only option. I hate wearing suits and I hate office work.)

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Over the years I’ve kept painting as a hobby, spending precious days in the summer holidays painting. Due to a lack of time it would take me two or three years to actually complete a painting. I mainly worked with gouache, but I also dabbled with acrylic and digital art. I also painted many Warhammer miniatures that developed my detailing skills. After leaving teaching I was able to put a lot more time into painting. I joined a few evening classes to force myself to give up some of my spare time to focus on painting and I found that I was enjoying it more and more. The practice was starting to pay off with results that I was happy with. And now that I’m doing it full time, I love it. I said when I started this whole escapade that I wouldn’t paint at weekends. That hasn’t quite worked out. But at least that shows I’m enjoying it.

Next time we’ll have a look at one of my influences. See you then.


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How I Gave Up A Perfectly Well Paid Job And Became A Professional Artist Instead: Part 2



I admit it. I was a rampant materialistic consumer. Of stupid proportions. When I first got a job, I would go out and buy whatever I wanted, whether I needed it or not. My record, book, comic, CD and DVD collections were extensive. I bought consoles on the day of release and spending £40 on a game was nothing. A new hobby would come along and I would buy all of the requisite gear. No expense spared. Christmas and birthdays were just obscene. The sheer quantity of presents was staggering. I don't even want to be reminded about it.

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I thought that I bought things because I was working really hard and could afford it. I deserved it. But what I realised over time was that I bought things to cheer me up and alleviate the pain of a pressurised job. And it worked - short term.  My purchases made me happy for a week or so and then I was looking for the next thing. That new special thing that I must have, that would make me even happier. I was never content with what I'd got and I didn't use anything to its fullest. I kept doing the same thing over and over again, buy, buy, buy, with the same result: it didn't make me happy.

Two things started a change in me: going part-time as a teacher and the film Fight Club. Due to some fairly harsh times at work I went part-time for a while and in that time my wife and I had to work out a way of cutting down. Gone were the times of buying whatever, whenever. We decided to set ourselves a weekly budget, based on a full review of our wages and necessary outgoings. We kept a note every week of what we bought. An underspend to save up for things was allowed, or very occasionally we could overspend and then pay it back. I was surprised that I actually felt a little bit happier doing this. I enjoyed saving for things. I used to do it as a child. It would take me at least ten weeks to save up for a £10 game for the C64. When I got the game, I would play it to death because I knew it would be a long while before I got another. I had returned to that approach and it felt much more satisfying than the instant gratification I was used to. The weekly budget didn't completely solve the happiness problem - I was still teaching after all.

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So what about Fight Club? Well, it brought the subject of the evils of consumerism into my head. An idea that would percolate for years to come.

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The change continued apace when I left teaching and took up a job that paid just above the minimum wage. Again we had to reasses our weekly budget and again I became happier. This could be largely due to leaving teaching but not completely. The reduction in material goods helped too.

The next part of the puzzle was reading a book called 'Stuffocation' by James Wallman. Suddenly everything became clear. Yes, my house was too full of stuff. Yes, I felt guilty about the stuff I never used. And yes, I wasn't happy.

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The book suggests many ways to overcome this most modern of problems, some that I'd already started to put into practice. But I needed to commit more fully. I blitzed the house and either sold what I didn't want or gave it to charity. I kept the money gained as a fund for experiences. It felt like a weight had been lifted.

Finally - and this is how I became an artist - my job contract came to an end. After talking with my incredibly supportive wife and looking at the whole money situation we decided on a radical solution: take up art full time (with a side dish of doing all of the ironing, cleaning and cooking). I had been painting more over the previous year and really enjoying it, so it seemed like a natural step. The experience fund would help with the cost of the art materials. What better experience than following a life-long dream.

So we leapt.

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And now we're happy. We have both left well paid (stressful) jobs and our income is less than a quarter of what we could have been earning if we had stayed in those miserable professions. Yet we're both enjoying life so much more. It's not something that could have happened overnight and it's taken a lot of adjusting. I sometimes wish that I had always lived like this. I cringe at how much money I've wasted. Yet I think it's a process that I needed to go through, seeing that consuming vast quantities of stuff didn't work.

It has taken me over twenty years but I've now reached the point where I buy very little. I listen to music on Spotify. I rent my films from Lovefilm. Books, I get from the library. My one vice is cooperative board games. But one game lasts for ages. After playing them for a good long while, I sell them if I have an inkling that I won't play them again. My weekly budget now pays for everything other than bills, including petrol, meals out, birthday presents etc. Twenty years ago it would have been a nightmare but now it feels natural. The environment is breathing a sigh of relief too.

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Where does feeling successful fit into this plan? I had to ask myself how I defined success. My answer was that success equals happiness. When I started teaching I thought that success lay down the route of having stacks of cash and buying loads of stuff. For me now, the opposite is true. Don't get me wrong, if I won on the lottery I wouldn't turn it down. Yet now, that money would buy experiences rather than things. It would allow us to work less or retire earlier. So yes, money is still important but only up to a point.

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So that's how I can afford to be an artist (just). Now the dirty side of things is out of the way we can look at my influences as an artist. See you next time.

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How I Gave Up A Perfectly Well Paid Job And Became A Professional Artist Instead: Part 1

So why does someone give up their job and become an artist without the promise of a steady income? I'm going to have spend a fair while explaining why I made this terrifying move because the change in my mindset didn't just happen overnight. Stick with it and we'll eventually get to the arty stuff.

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After eighteen years of teaching infants in various schools around the country, the prospect of having to teach for another twenty seven years before I could retire seemed to be way beyond what I was capable of. I was completely burnt out. The changes to pensions that the Government were proposing and the rise of the Academy were the final straws. I decided to leave teaching and give up a relatively well paid job. Easier said than done you're thinking...

Teachers. Start at nine o'clock. Finish at three. Have massive holidays. Play with plasticine all day. They're having a laugh.

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Complete myth.

Yet it's a myth that I believed when I went into teaching. The fact that it was incredibly hard work came as a bit of a shock. When teaching, I worked twelve hours most days and spent a fair portion of Sunday working too. The European work time directive doesn't figure in teaching in the slightest. Also bear in mind that working with a class of five to seven year olds can tire you out in just one day - as colleagues who occasionally covered my class found out - and you'll see why I was on the verge of exhaustion every year. (There was one instance where I collapsed and smashed my head into a door. Luckily the door was slightly open so I didn't cause any brain hurt.)

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Ah, you say, what about those massive holidays? Well, since I left teaching I have worked in a couple of jobs with far less holidays. But the difference is that they are proper holidays where I can relax. I can switch off. I never switched off from teaching and there was always work to be done in that supposed leisure time. I feel like I have way more holidays now (despite the figures showing that I have less than half the time off that I used to.) Everyone would love the holidays that teachers have, but probably wouldn't want the job that goes with them.

Add into this a government that hasn't got a clue about what life is like in the real world (I would include the New Labour government from 1997 to 2010 in this too), who think that all teachers work in lovely leafy suburbs with children who can spout Jean Paul Sartre and solve differential equations at the age of two, and you've got a recipe for demotivation and a severe lack of morale. By the time I left, the pressure had dramatically increased and has continued to do so since.

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I used to live for moments (mainly the odd day in the holidays) but now I'm able to live in the moment. My work/life balance was 90% work and 10% life (and in that 10% I still ended up thinking about work).

Something had to change.

So I left.

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I could rant and rant about teaching, but I'm conscious that I need to get around to art at some point. But there's one last thing that I would like to make clear, the children I taught were all great with no exceptions. The time I spent with them was fantastic and we actually managed to have a fair amount of fun. It should be the best job in the world, but sadly...

Next time, I'll look into the money - or the lack of money - situation. (I promise, no more ranting about teaching.) See you then. Now, where's my plasticine? I'm getting withdrawal symptoms...

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Welcome!

Welcome one and all to my first blog post. Over the coming months I'll detail how I came to be working as a professional artist, where I get my inspiration from, the process I go through to paint my images and lots of other incredibly interesting stuff (no doubt).

Just to whet the appetite here's a little teaser shot of what I'm working on at the moment:

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This is just a small section and is definitely subject to change. At least it gives you a flavour of what I'm working on.

Next time I'll start to detail how I ended up being an artist. See you then.

To return to my website, click here.