“I find that the modern British artists I look at most are those using colour combinations not found in nature in the UK... Barbara Rae, Gillian Ayres, Albert Irvin and John Hoyland. But of course he was influenced by the New York Abstractionists. The main difference I see between the US and the UK artists is choice of colour palette.”
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| Details from "Thames Haven" (left) by Tina Mammoser and "I am nature" (right) by Rodney Beecher Roberts |
“Landscape! Just landscape as a subject matter even in urban contemporary painters’ work. I can find seascapes at all levels in all styles, at galleries and fairs. I’m always amazed at shows in the US that I rarely see landscapes, but lots of depictions of people and political work.”
“I am totally disconnected from Britain’s long standing history and reverence for water colour. I can’t get past observing the techniques involved. And for me art is a singular solitary endeavour, so I don’t see the importance of an artist attaching letters to their name through art societies.”
“I feel disconnected from the long history of community many artists seem to have. Art in the family, maybe connection with a home town, plus a long cultural history. In a way it’s an almost hereditary grounding they have in their view towards being an artist. My background is one of constant movement so sometimes I envy that element of psychological stability.”
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| Detail from "Resound" Acrylic painting on canvas by Tina Mammoser |
“What has changed most is the light. Even though I paint in a studio under artificial light it is still darker and greyer which affects my choice of colour and mood.”
“I started working here so am not sure I can answer this regarding painting. I used to draw a lot since high school so I suppose any change in creativity has been a slow movement away from exactitude. Not entirely away from realism but relaxing the need for perfection and capturing ideas and impressions instead.”
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| Detail from "The 5th Dimension" Mixed media painting by Rodney Beecher Roberts |
“I think growing up in the states, especially California, left me with the typical American attitude of wanting everything the way I want it, not ‘how it comes’. For me, my expectations are what counts not the status quo or what others may think is proper, which I think shows in my art work.”
“I was raised with a very achievement-oriented attitude to life, something that has ebbed since moving to the UK. But it is still there and I think it drives my artwork. I have a need to push more, find something different, for the work to have meaning and my technique to be challenging. Even within the creative process I do naturally build myself structures.”
