Erika Gofton
Erika Gofton is a painter from Melbourne Victoria , she paints predominately with Oil on Canvas, while some works have handstitching/embroidery. She is represented by Dickerson Gallery Melbourne and Sydney and Anthea Polson Art. You can find out more about her at her website www.erikagofton.com
Erica, what can you tell us about your works?
I am celebrating the sensitivity and beauty of the female figure. I wish to present an intimate look at womanhood and to create works depicting beauty, grace and harmony. I am captivated by the female form and intrigued with the subtlety between the sensual and the sexual, the unique motifs and iconography associated with femininity.
Texture, fabric and drapery play an integral role in my work. The natural beauty of the body and the echo of form beneath the natural folds of the drapery suggests a quiet and captivating sexuality. The evocative suggestion of flesh showing through lace is enchanting.
Lacework, embroidery, patternmaking and fabric designs, uniquely female experiences and motifs, are also prominent in my work and symbolise characteristically female practices. The strong design and composition of these elements also aim to reflect shapes and forms in the figure and the chosen dresses, offering a work built on layers of pattern and form. By handstitching on the canvas in some works aims to give another layer of significance to the painted layers beneath but also employs the practice I am celebrating.
Butterflies, and more recently birds, feature in my work, as they embody beauty, grace and harmony. Their presence suggests quiet movement as a subtle contrast to the stillness of the figure. Birds also represent another uniquely female experience; motherhood.
What are you currently working on?
A body of work to be exhibited at Schubert Gallery in December
One word or statement to describe your current works?
Sensitive. Still. Tension. Layered.
How did you get into art?
I have always had an engagement with art and creativity. I was taught from a very young age to draw and paint by my Mother who was a graphic designer and illustrator I did my first oil painting at 10 and have always painted.
What did you do before becoming an artist?
I completed a Diploma of Education after my Fine Art Degree so that I could teach secondary school, ‘something to fall back on’ but found that it unfortunately had a really negative impact on my work. I ended up working in art supply shops and as a technician which was just fantastic as it gave me a whole new understanding of my materials and other mediums. It really complimented my practice and was a great way to learn and meet other artists.
What is your earliest memory of art?
Sitting still for my Mum while she painted my sister and myself. My earliest memories are very much about my Mum, her wonderfully drawn paper dolls. Her tubes of gouache.
Was art a “thing” that was encouraged in your family?
Most definitely
Did the place where you grew up have an influence?
Not particularly. In fact I found it quite suffocating.
What or who inspires your art?
Oh where to begin. Everything around me really. Pattern, colour, texture, line, fabrics, words, drawing, printmaking. The paint itself.
Visiting galleries and reading contemporary art magazines gives me a huge amount of inspiration. It allows me to see how other artists approach their subjects, their materials, how they solve problems. I have a filing cabinet full and wall in my studio that is covered in other contemporary and historical artists work, it is extremely broad but I find inspiration in the smallest parts, maybe a colour or a line, a compositional choice. I have a deep love and respect for good abstract and non representational work and find that I get a great deal of inspiration from the different way of communicating a message, a different language.
How important is art for you?
It defines who I am.
What caused you to choose the medium you currently work in?
I have an immense love of paint, I always have had. I just love everything about it. The bar is constantly keep moving up. I just want to learn more and feel more in control, which only really comes with getting to know the medium more intimately.
How important do you think craftsmanship is to artistic creation?
I think it depends on the work to a degree and what you are trying to convey. The better grasp and understanding of the chosen medium I believe has the potential to makes the message stronger or at least clearer. If the artist has a vision in their mind but struggles to translate that through a lack of craftsmanship they have failed to communicate that to the best that they can. This doesn’t just mean painters or sculptors understanding their medium but video artist, performance artists. An understanding of the medium, its possibilities, its limitations.
Does the sale of your work support you? If no what else do you do to support your art?
My work is beginning to sell enough that I am holding my head above water, just, but I do also teach drawing to adults which I really enjoy.
Some say the lifespan of an “artist” post educationally is about five years, any thoughts on that?
I think the difference to life as an artist at art school and life as an artist outside of the institution is vastly different. They are two quite different experiences. I can imagine that many artists struggle with the isolation that comes with life outside of art school, and possibly the self discipline that is required.
What has been a turning point in your career thus far and why?
Moving to Melbourne had a huge impact on my career. I had the freedom where I felt I could do the work I wanted to. I found acceptance in being a painter.
If you could have any piece of artwork in your personal collection, what would it be and why?
Any Chuck Close Self Portrait. I have always admired and been fascinated by his work. I really admire the way he has evolved through the years and his deep and passionate love of painting. Or John Millais’ Ophelia.
All artists seem to have struggles, tell us about any you have had.
I have been very fortunate in my life. I do struggle often with self doubt and lack of confidence. I have also found that motherhood has proven to be a struggle in my practice. Being an artist sometimes feels like it is such a selfish, self indulgent thing to do but motherhood requires you to be totally selfless. The two fight each other sometimes, but it is also really starting to inform my work which I find really exciting.
Do you keep an Art Journal or Visual Diary of some kind?
Yes I always have, I write in it most days. It helps me to organise the words, images and ideas that float in my brain. It gives me order.
What can you tell us about your creative development process?
It is ridiculously laborious. Begins with a lot of drawing and writing. I write a lot. Words factor a lot in my work even if it isn’t evident. An idea for a work may happen quickly or may stem from an idea some time ago. The last couple of years have seen works grow from previous works. I am noticing lately that I am looking more towards my own environment, more inward.
Has being involved in the arts proven to be a millstone or a point of elation?
A bit of both. I often feel that I have a love hate relationship with my practice or at least the intensity that my work imbibes. I never feel like I can switch it off which sometimes is problematic.
What discourages you from doing art?
My own insecurities. Time.
The value of Visual Arts is…
Its capacity to communicate. To stir emotion. To create dialogue. To question. To Mirror.
Your first show at a “gallery” you thought was of value, how was the whole thing for you?
A huge learning curve as to what NOT to do! I taught me that I had to take responsibility for my own career. To be active in your own career.
Tell us about getting caught in a creative “slump” and how you got out of it?
It depends on where I am at. If I am working towards a show I can’t really take time away so I really just push through, which can often make it so much more intense. If I have time, taking time away from the brush. Time spent drawing, reading, looking at art. Almost denying myself so that I build up a desire to get back into the studio. I find a huge internal pressure to always have a brush in my hand because my studio time is so limited and this impacts quite heavily when I get into a slump it tends to snowball.
Metaphors, analogies, symbols, stories, how important are they to your work?
Subtly.
Name a book or books, which may have inspired your work as an artist?
Too many to mention. I love books and refer back to so many when I am looking for inspiration. I was given a copy of Robert Vickery’s Egg Tempera book when I was young and that is very special to me.
Tell us about your studio environment (too big, too small, enough storage or not, the light, the position, how you found it etc)?
I worked in shared spaces until having my son. I now work in a really lovely space at home now, a converted garage. I love being in there. It would be nice to be bigger but it is nice and bright and its my sanctuary. I do miss having other artists around though and the isolation is a struggle sometimes.
Is your work process fast or slow?
Extremely slow and laborious. Ridiculously sometimes!
Art as a therapeutic device; do you think it is useful for this purpose and is your work in this category somehow?
I think it can be very therapeutic at times but I also I think sometimes I need therapy because of my art!!!
People around you (family friends etc.) what would they say about the way you work, the moods you have, your life as an artist etc?
I work very privately, I don’t share my work with many people. I keep my work hidden generally until it gets to a gallery. I have some quite big lows and anxiety relating to my work, particularly when I am struggling with a piece. It tends to make it worse if I talk about it too much. It quite often affects me physically and I have learnt I need to have time to expend some of the pent up energy and anxiety, either by walking or swimming. If I am struggling with a particular painting I find it very hard to walk out of the studio and forget about it. I get very distracted with everything else around me until it is resolved. I am quite obsessive about how I work. I feel very private about my life as an artist. My family know that I am much more satisfied if I am able to work.
Do you have a connectedness to other art forms?
I have a real love of printmaking.
What is one thing you need to have in your studio before you work?
A cup of tea and silence for a while.
Which is more important to you, the subject of your painting, or the way it is executed?
They have equal importance. One can’t survive without the other.
From your early beginnings at art school to now, how have things altered for you?
I have gained more confidence in my right to be an artist. I am content with how I work I don’t feel so compelled to ‘please’ anyone but myself.
Is the making of art all it was “cracked up to be”?
So, so, so much harder but ultimately more satisfying
What is your working routine? Do you listen to music while you work, or stay up late for instance?
I listen a lot to talkback or podcast interviews while I work, it helps to break the isolation in the studio. I tend to listen to music towards the end of the day to pep me up a bit. I don’t paint of a night. Natural light is very important. I do a lot of prep work of a night, sketching in my journal and resourcing reference materials. I have a very set routine by sheer necessity with a young child I have had to learn to be very disciplined and be good at managing my time.
What do you love/hate about being an artist?
I love the constant challenges. I love being able to create for a living. I love seeing the world in a different way. I love the process. I love the endless learning. I love the constant exposure to other artists and their work. I love being surrounded by art. I hate the stereotypical view of what an artist is, and does. I hate not being able to switch off being an artist, when sometimes you need to escape it for a while you can’t. I hate the long apprenticeship. I hate the financial uncertainty.
What advice would you give to an artist just starting out?
Find what is uniquely you. Be prepared that it is very different to Art School. Seek criticism from people you respect. Learn how the gallery system works. Market yourself but don’t make your work just to be marketable. Develop discipline, determination, persistence and a thick skin. Be prepared for rejection, lots of rejection. Learn to like working by yourself, but try to engage with like minded artists when you can. Visit galleries. Keep learning. Read, listen, look. Don’t ever think that what you have chosen as your career has less value than other occupations.
Have you ever made an artistic pilgrimage? If so, where did you go and why?
I went to France and Italy, London and New York. I went to immerse myself in the works that I had so long admired and drawn inspiration from, but had never seen in the flesh. I wanted to study the brush strokes, and the surfaces. I was very fortunate and saw the big Holbein exhibition at the Tate which was just incredible. I also did a great portrait workshop in New York.
Compiled and edited by Steve Gray Contemporary Australian Artist
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12 Responses to “Erika Gofton”
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[...] An idea for a work may happen quickly or may stem from an idea some time ago. Original post [...]
Your work is excellent if only I could paint like that
love learning more about ‘The Artist Erica Gofton’.
Inspiring - I like the thoughts your paintings leave me with.
Thankyou for sharing.
a wonderfull interview and so honest. Have watched Erica’s work for many years now and it is growing and developing in a truly inspiring way. Keep challenging yourself in all things.
A very honest account of being an artist; so generous in the information shared. The work is superb and really does achive what you talk about trying to achieve. I wish you every success with the show at Schubert and hope the opening on the 5th December has a good strong crowd.
You struggle often with self doubt and lack of confidence? - You must be joking!
Beautiful work!
Really enjoyed your interview Erica & just love your paintings - they really are superb. Best of luck with your show - wish I could be there.
regards, Kim
It’s like Tai Chi.
[...] You can read more about this fascinating artist here… [...]
HONESTLY THOUGHT THIS WAS A PHOTO GALLERY, HAVE NOT SEEN SUCH BEAUTIFUL IMAGERY AS IN THESE PAINTINGS.Well done Mrs Marshall.
[...] Erika Gofton who was interviewed earlier in the blog is in this show opening soon! [...]
[...] Erika Gofton who we interviewed a while back, is running art classes in Newport Vic at the Sub Station, what a great opportunity to be tutored by a practicing Contemporary Artist! Check the website for details. [...]