Simon Collins
Simon Collins from South Sydney paints in oils and is represented by
Ian Dawson Gallery http://www.antheapolsonart.com.au/ his websites are http://www.simoncollinsart.com/ http://www.smallartworks.blogspot.com/ http://wwwlife-draw.blogspot.com/
Artist’s statement…
My inspiration is simply the visual appeal of ordinary moments in my life, mostly on the road that just cry out to be painted. I’m subjected to a visual torrent every day on the road and grab at will. I like the viewer to take what they will from the work, what they read into it they read into my experiences, so without saying a lot about my life (I’m quite a private person), it’s more just about my investigation. Subject matter aside, I quite simply mess with the medium and try to paint a pleasing picture and reach a level of sophistication in doing that. I’m very interested in the translation of nuances of digital photography to that of paint, which is where I want to further push my work.
How do you describe your work?
Direct energetic and intuitive
How did you get into art?
Always took to drawing from earliest memory, I had no idea what I wanted to be when I grew up and applied for art school, got in, took it from there.
What is your earliest memory of art?
Winning a colouring in competition at age 3 or 4
Was art a “thing” that was encouraged in your family?
Yes, in that my father dabbled in oil painting, I copied him a little as kids do and my parents always seemed to be impressed with my art, as good parents do
What caused you to choose the medium you currently work in?
Playing with my fathers oils at a very young age created a mindset that it’s the real artists stuff, but I loved it since then and love it more now.
How important do you think craftsmanship is to artistic creation?
Very Little. I believe the most creative musician can be a kid thrashing it out in his or her bedroom with a cheap electric guitar missing all the notes; it can still be music that has real meaning. I believe the same for visual art
Does the sale of your work support you?
I rely on my business partnership doing aquarium and pond services/consults which affords a freedom to not be a sales motivated artist and at the same time busy as I am, being my own boss allows me to take a day or even a few hours off at short notice for painting or dropping work to a gallery etc.
Some say the lifespan of an “artist” post educationally is about five years, any thoughts on that?
Post educationally (bachelor degree after high school) I have trouble seeing how anyone can be too ready for life as a full time gallery artist inside of 10 years, but accept there are exceptions. I spent 15 years ‘maturing’ after my bachelor degree before I felt ready to create seriously and then a few more before deciding I wanted to pursue a career as a gallery artist.
What has been a turning point in your career thus far and why?
Finding a good weekly life drawing group to join and religiously attend. Drawing the body is varyingly challenging. These days I treat it like training and therapy.
If you could have any piece of artwork in your personal collection, what would it be and why?
Perhaps Robert Raushenberg’s Quarter Mile? I’d never get bored of that, and it would certainly be a constant source of discovery and inspiration.
Okay this is about Visual Arts, but most artists have favourite music they enjoy while working or just in general what about you?
Very much so. I tend to listen mostly to artists who are artists in the sense that they exist on their own terms and are truly original, are creating work that are timeless and not part of a fashionable trend. A few long-term staples are Nick Cave in his various forms, Iggy Pop, Ween, Beasts of Bourbon, The Melvins; there’s many more. But at the same time I can enjoy a Jazz show on the radio or abc classic FM.
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 ever feel compelled to explain my work, and there’s certainly not a whole lot to ‘get’, nothing too profound anyway. The subject matter is symptomatic of my situation and experiences, which I paint to investigate, and that choice can be read into and is what the viewer can read into as they will, I don’t believe I spell it out in any certain way. When experiencing art there’s nothing worse than having it spelled out to you. When art, be it literature, books, movies, music or painting treats the audience like a moron the work becomes pedestrian and suffers. What I hope the view ‘gets’ is the sophistication of the visuals and the use of paint more than anything.
Your first “decent” gallery representation, how did it come about?
In both instances the best way possible in that my work was noticed, communication initiated and a suggestion that we could perhaps work together that was followed through.
The business or marketing side of Art can be a challenge to some, what are your thoughts?
It’s an unfortunate necessity for a career artist. Some artists I know find it a lot less challenging than others. Having a good dealer eases that challenge somewhat, but there is always work for the career artist in marketing.
Tell us about your studio environment?
Getting into a decent size studio was a major catalyst to me raising my work level a peg, but it could never be big enough, light is ok. One must work with what they have.
Is your work process fast or slow?
I work very directly and get through a painting faster than most, once at the easel.
Otto Dix the German artist said (in part)… “All art is exorcism…” Is that the case for you? If so how…
In a way. I need my easel time. I don’t get to paint every day, but I make sure I step in the studio every day. Contemplation of unfinished and future works keeps the wheels turning in art and life, and somewhat therapeutic.
Do the seasons affect your work or work habits?
I work at night in a converted garage. It doesn’t really affect my routine, only the comfort factor in the winter cold. I much prefer painting in shorts and bare feet.
Which is more important to you, the subject of your painting, or the way it is executed?
Definitely for me it is in the execution. The subject matter is important because it is snapshots of my life, but most of my important decisions in the creative process are about the visual qualities of paint and the painting and the intent in which it is delivered.
Do you prefer a perfect smooth technique or a more energetic expressive technique and why?
My surfaces are always very far from smooth and an important part of the work. I like to paint the whole canvas at once, which lets me see the whole composition. If I can’t see it fast I’d lose interest. I’m not one to work up through the layers to achieve a tone or colour. I need to mix it and put it down and see it. So I’m efficient with time, but also paint strokes, and feel successful when all that energy is evident in honest and confident (if not audacious) paint energy. At the same time it lets the viewer in on the process.
Have you won any awards?
I haven’t won awards, but I got highly commended (runner up) in the Waverley Art prize 07 and 08. Getting hung in the Doug Moran National Portrait Prize 08 was pretty good too, as was being hung in Mosman Art Prize 07 and 08.
Technology (websites and social networking sites to name a few) has become an important marketing tool for many industries and individuals, what are your thoughts from a “You Inc” perspective and your art sensibility.
Having a website is key to getting your work seen, and makes getting a gallery a whole lot easier too. Then there is a myriad of ways to get your website seen.
Do you work from life, or from photographs or from imagination or some other method?
I unashamedly work from photographs, but I don’t paint the photo, I use it as a reference.
What is your working routine?
I always listen to music. I catch a few favourite radio shows, and listen to cd’s otherwise. I paint at night once the kids are down, sometimes working through to 4am.
What advice would you give to an artist just starting out?
Paint a lot, learn to be self-critical, listen to the opinions of other respected peers when they are good enough to give it to you honestly.
Do you have questions for the Artist? Go to the comments section at the bottom of this post and ask away.
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5 Responses to “Simon Collins”
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Great interview, and so nice to read a bit more about Simon’s work. Such a nice fellow and an awesome painter.
Thanks both for allowing me to better understand Simon. Great interview.
Great interview Simon. Such honesty about your practice and general approach.
I can relate to so much that you say here, especially about “inspiration is simply the visual appeal of ordinary moments in life…” and not painting the reference photo.
Thanks for a great interview Simon. Very interesting to hear your thoughts.
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