Paul White - Artist
Paul White lives in Williamstown Vic and says “I have been making Art as long as I can remember. I have scrapbooks and drawing books from my very early childhood, mainly pencil drawings, so I guess I would say I have almost always considered myself an artist. Throughout high school I used to paint on everything around me – shoes, clothes, bags. My bedroom at home was entirely covered with collage, there was not an empty space anywhere, ceiling included.
I like to be always making things or working on things or just using my hands.
I have been an exhibiting artist since around 1996. I completed my Bachelor of Art in 1997 and my Master of Arts in 2003. you can check out my website here. www.paulwhiteart.com“
Paul with his Billboard Piece in Altona Vic.
Interests you have other than art you feel are important to mention?
Collecting, cars, music, my girls – my wife and baby girl… I like objects and objects from the 1970’s (the decade I was born into) in particular. I like collecting in general; I have various collections of various things such as model cars, toys, music, shoes, magazines, lights and on and on.
I like the way these things represent a point in history and the idea I am saving them and keeping them in existence or going. I hate the way things are not built with so much style or durability anymore. It is almost like things are made with built in obsolescence.
My wife and I have acquired a good collection of mostly late 1960’s Australian ‘danish’ style (such as parker) furniture. We have a 1974 SLR5000 Torana and a 1978 Torana. I have also had a 1976 Torana and a 1975 Pontiac Firebird, which I had when I was living in Los Angeles where I completed my Master of Arts. I have always been into cars as well as art; it is kind of a counterpoint to my practice.
I am also into 1960/70’s hi fi equipment (with my ipod running through it!) I have a good collection of eclectic music and I like to almost always have something playing on the stereo. I have in the past played music myself, although I don’t find the time these days. I like making things generally; lately I have been working with timber and have made a few things such as a sideboard and various speaker cabinets.
What are the main medium/s you work in…
I like to explore a range of different mediums and ways of working. I like working with ‘handmade’ or crafted techniques such as pencil, with fabric and sewing, painting and using found objects. I am interested in mediums that exist somewhat outside of traditional art practice. For example I find inspiration in methods of craft and illustration as much as ‘fine art’. I see my practice as a continually evolving process and something that is continually reinvented In relation to the time and place I am in. This keeps it exciting and challenging for myself. I loose inspiration if I work in the same way for too long, it starts to feel like a production line.
Artist’s statement…
My practice is concerned with exploring notions of fragmented identity (personal and sociological) and in the evolving and cyclical notion of the everyday and the individuals’ relation to it. My practice explores the fractures in society, where obsolescence leads to rebirth and reinvention. This exploration is based in examining objects and images that are part of the popular culture that one navigates in the everyday.
I am particularly interested in elements of the everyday and popular culture that are suggestive of notions of obsolescence and decay. Such as, once thriving objects or elements that have succumbed (or will inevitably) to the process of history and time. Objects of comfort, desire, dreams and necessity often become altered, transformed or lost through time. In relation to this, aesthetics, styles, and fashions are constantly recycled, re evaluated and re-used through time and in relation to the now. They become a measure for the body or self via the various physical and conceptual structures of the everyday that contain or surround it.
This examination of notions revolving around evolution, extinction and the ever-changing nature of the universe, becomes a celebration of the cyclical, constantly evolving, recycled and tenuous nature of culture and the everyday. This in turn leads to a hope for transformation, growth and renewal as much as an act of remembering or nostalgia for the past. These notions are explored through a range of different mediums, from drawing to sewing to installation. The mediums are however always based in the hand made, objects crafted by myself. The objects use captured and actual elements of the everyday to explore the notions mentioned above.
What are you currently working on….
I am working on some large scale pencil drawings on paper and am continuing my exploration of drawing by experimenting with coloured ink on timber. I am working in a much looser way than previous drawings that were very precise and laborious with their photo realistic style. I have been limiting each drawing to one colour only ie one drawing is all brown or all green or all pink. I have had my work used in some alternative environments recently too, such as a billboard in Altona. I have also had my works used for several fashion labels, on t-shirts and snowboards. I am interested in a practice existing both within and outside the ‘artworld’.
How important is art for you?
I see ‘Art’ as the way I navigate and process everything around me, so it is all encompassing. I like to be working on making things, even if they are not directly part of my practice. I like using my hands and seeing what they can do.
What is it about Visual Art you find compelling?
When it all comes together and takes your breath away…I wonder sometimes why I am compelled to make art. I have always felt the need to, it’s a way of communication that works for me and I just don’t know any better I guess.
Is there any one thing that has given you a big buzz in your art career so far?
A few highlights amongst the many rejections would be winning a Samstag Scholarship which enabled me to study in Los Angeles for 2 years, seeing my work hang in the National Gallery in Canberra, seeing one of my works randomly in the background on a tv show. It’s always a buzz to see a gallery installed with your work after having worked away in the studio one piece at a time.
What or who inspires your art?
Everyday happenings.
What caused you to choose the medium you currently work in?
I wanted to slow down my process and create an almost mediative place. I wanted to try something new, something I wouldn’t expect to see myself do, to surprise myself.
What can you tell us about your planning and making process for making art, and has that altered over the years?
It can change depending what I am doing. In the past I would work a little more off the cuff, experimenting and letting things happen as I went, albeit with a framework in mind. More recent work has probably been more staged. I tend to plan things out now and then execute them.
Does the “creative process” happen easily for you?
Sometimes, not always.
How important do you think craftsmanship is to artistic creation?
It’s not really at all important, but personally I do get a thrill to see something that is well crafted. I didn’t really care especially for painting until I saw a Gerhard Richter retrospective in San Francisco. It was so amazing and reminded me that simple well-executed works can be as powerful and sophisticated as anything. Another example would be seeing a Tim Hawkinson retrospective in Los Angeles – such virtuosic use of materials that add a sense of wonder to the works and concepts.
Working towards an exhibition, is it a daunting task?
I find it easier to work towards an exhibition than just making work for the sake of it. Its exciting planning and mapping out the works and their juxtapositions then seeing it all take shape and change.
Some say the life span of many “artists” post educationally is about five years, any thoughts on that?
It is definitely harder in some ways working outside of an institution. Within an institution you are forced to defend your practice as well as having an immediate network of other artists. I had around 4 years between my bachelors and masters degrees, which was nice. It has been almost 6 years since my masters now and I feel at times a little isolated. I have some desire to be within an institution again.
Tell us about your connection to your subject matter, way of working, concepts etc? I tend to work from personal experience – from things that surround me or that I navigate in ‘the everyday’. I often work from photographs I have taken or from materials I have come across. I like to have a personal connection to the subject or concept.
Do you keep an Art Journal or Visual Diary of some kind?
I keep a rough book of ideas and images. I keep notes of words and images that eventually form into actual works. I also keep images and notes on my laptop. I have a large library of photographs that I have been using as the basis for work for the last few bodies of work. A lot of these photos were taken on trips overseas, especially the United States. Some photos are just taken on an everyday basis on my phone. I also keep ideas or ideas for works stewing in my head. I have a theory that good ideas will remain and develop in my head.
What happens to works that “don’t work out”?
I usually plan out a work fairly thoroughly so works usually go to plan. Sometimes I feel like unsuccessful works were not planned out well enough, and these are usually reused for another work or just tossed out. In the past I would work in a more experimental way, which probably produced more aborted works. I somewhat miss working in this way, I intend to revisit this way of working in the near future.
Musical influences?
Music is very important to me. I usually have something on while I’m working. I like a wide range from jazz to metal to funk to hip hop to avant garde. I often like to work to pretty up-tempo stuff to keep me going.
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I don’t like to spell anything out; I seek to create a space that stimulates individual thought. Of course I have concepts in mind when developing and creating the work. However I am not especially concerned whether someone has a particular reading of the work, just that they get something from it.
If you stopped doing art right now would you miss it?
I get anxious if I don’t make something for too long, it’s too much a part of me.
What about the role of titles with your work, some hate them others revel in them, what about you?
I like titles; they can be useful for adding layer to the work, or for giving a hint or even for creating a bluff.
The business or marketing side of Art can be a challenge to some, what are your thoughts? Marketing and (self) promotion are necessary to help create opportunities that help to get your work ‘out there’. Sometimes I feel like marketing takes time away from my studio practice, however it is important for the above-mentioned reason. Whilst I get self-satisfaction from making work, I make it so other people can see it, so the more that can see it the better.
Tell us about your studio environment ?
It is a room in my house at the moment. I like to work from home, however much space there is or isn’t. I don’t like the idea of having a studio removed from my domestic space; I like it all to be mixed up and close at hand.
Is your work process fast or slow?
Depends on what mediums I am working with, it can be at either extreme. My pencil drawings were in part an attempt to slow down my practice, they are very slow and helped me be more patient.
Do the seasons affect your work or work habits?
The Melbourne winter is pretty good for staying in and making work, there’s no incentive to go outside.
Are you a purist with your art materials or willing to mix things about?
I like to use any materials really, often more alternative materials yield interesting results. Having said that there is beauty in using something simple like a pencil and paper is, in stripping it right back.
Which is more important to you, the subject of your painting, or the way it is executed?
The beauty is when the two things come together perfectly.
How important is society, culture and or history to your work?
These elements all form the background or context for my work, they are what influence the conceptual development and physical construction of the work.
Do you work from life, or from photographs or from imagination or some other method?
I usually work from photographs, often photographs that I have taken on travels overseas.
Have you ever made an artistic pilgrimage? If so, where did you go and why? I haven’t been on a pilgrimage as such, but the museums in the Netherlands are great for seeing old master works. New York is of course amazing for it’s concentration of galleries and modern masters. LA is great for post art school and contemporary work. There is no denying we miss out in comparison here in Australia.
How many artworks do you work on at the same time?
I usually work on one thing or sometimes two things at a time. I like to complete and resolve something before I start on the next thing.
Want to see more Artist Interviews the day they are posted? Subscribe and we automatically send you the latest post via email, it’s easy click here to subscribe.
Compiled and edited by Steve Gray © 2009+
Follow me on twitter! http://twitter.com/stevegray58
Comments
One Response to “Paul White - Artist”
Leave a Reply
Woah, very interesting.
Love his art!