Damien Loeb - American Realist Painter

Critics have questioned the place of figurative realist painting in a modern society for years. “Why labour over an easel when we can just take a photograph?” The inevitable fact of the matter is that technology has run so far ahead of itself that the ability to take a photograph has become universally viable. Photography is no longer exclusive to the world of art which raises the question, is it still art or is it just something we do?

David Kassan - American Realist Painter

For a photographer to class their work as art, surely they must first master the foundations of any great artist; life drawing. It is a trait that has been lost in modern art and one which most art institutes no longer practice. It is only through drawing an object that we fully engage in the physical act of looking. The development of sight is pertinent to the aesthetics of any artists work. Chance should not be a deciding factor with art. The outcome should always be calculated… considered… directed… regardless of medium.

David McDowell - Northern Irish Realist Painter

Figurative Realist Painting as the original canonical art form continues to prevail. With few boundaries left to expand in modern art, are we repeating the trend of the great masters? Taking something old and making something new? Is this the key to durable art?

Alex Study I

Alex Study II

alex Study III

Alex Study IV

Freya Study I

Freya Study II

Freya Study III

Christina Smyth: What interests you about portraiture?

David McDowell: A portrait is merely a means for communicating the bigger picture. The notion of taking a private moment and making it public is particularly interesting to me.

The Gaze

What interests me about a portrait is the gaze of the figure. Are they staring straight out at the viewer in a confrontational manner? Are they looking in a direction off canvas as though searching for something beyond the view of the spectator? This intrigues the viewer and asks the question, ‘what is she staring at?’ The gaze sets the tone for the psychological aspect of the piece. By the model looking in a direction off canvas, it creates a cinematic atmosphere.

The Cinematic

I’m interested in the idea of paintings acting as still frames from films. The off centred positioning of the model is pertinent to achieving this. Elements emerging from the side of the painting (that aren’t noticeable at first glance) can bring an ominous characteristic to the portrait.

The physical application of paint.

I’m interested in the technique used whatever it may be. The surface of the canvas interests me just as much as the conceptual thinking behind the piece.

CS: What influenced you to become a portrait artist?

DM: I started off my career by looking at landscapes and the atmospherics. However, once I’d exhausted the possibilities of the formal concerns (physical application of the paint) it became just painting a ‘pretty picture’. I’m interested a lot by the conceptual concerns (ideas and thought process) of art and portraits provided me with a way of expressing these ideas.

CS: Do you prefer drawing from life with a person sitting in front of you than drawing from pictures?

DM: Life drawing is a fantastic way of developing your drawing skills and exercising the physical act of looking. The key is to observe. It is your eyes that draw; your hands are merely tools for mark making. I work exclusively from photographs when painting but purely as a reference. I think it is important not to let the photo control the outcome but allow your artist licence to manipulate the photo for the aesthetic purposes of the painting. Painting from life would defeat the purpose of capturing a moment in time which is partly the point of my work.

CS: Are there any artists who have inspired your work? If so, Why?

DM: Pierre Bonnard – The intimacy of the private moments he captures. The closely valued hues he uses to manipulate colour.

Edgar Degas – He was a fantastic draughtsman. The misogyny of Degas work. I reverse his animalistic portrayal of the female in my work.

Eric Fischl – The idea of taking a private moment and making a spectacle of it. How he makes the viewer feel uncomfortable about what they are looking at. Should I be looking? Is it ok to look? It’s a painting but its depicting intimacy that I’m not sure I should be a part of.

Damian Loeb – His cinematic approach. Creating a highly charged situation as though something is about to happen.

Edward Hopper – The vacant atmosphere. Colour, light, composition. Painting only the necessary elements.

CS: How did you get onto this career path?

DM: I was encouraged by an enthusiastic school art teacher, family and friends. I continued my studies to foundation level and then to degree level allowing me a chance to develop my technique and skills. Soon after my degree show, Canvas Galleries, Belfast took me on and I have been exhibiting ever since.

CS:What university did you go to? Did you enjoy it?

DM: I attended university of Ulster, Belfast, 2005 – 2008. University was a pertinent chapter in the development of my art. Lecturers tell you what they think of your work straight out and thats what I liked about it. Lets face it, if they lied to you and said you were great all the time, would you feel the need to improve?

CS: How did you decide this was the career for you?

DM: God brought me to it.

CS: Do you use your art as a form of emotional release?

DM: Perhaps on some subconscious level but generally I see art as a way of exploring ones self. I suppose in a way each piece contains a part of me.

CS: Do you base your drawings more on male or female? Why?

DM: My art is a direct response to the misogyny in Degas work. I reverse this misogyny in my work and explore the idea that women no longer look to the man for approval but are individual. Often now it is the man who seeks the approval of woman. This investigation is my reasoning for painting more females than males.

CS: What media do you particularly like using? Why?

DM: Oil paints. They maintain their colour once dried as oppose to acrylics which often dry a slightly different colour than you first applied. The transparency of oils and the depth of colour they allow. The fact that oils take days to dry which allows me to take a break knowing the canvas will still be wet when I get back.

MD: Do you work from life, photographs or imagination?
DM: I use photographs as a reference point. I think it is important not to lend yourself to the photo but allow your artist licence to manipulate the photo for the aesthetic purposes of the painting.

MD: What moves you most in life,either to inspire or upset you?
DM: I’m inspired by a lot of things. My current investigation explores the qualities cinematic imagery can bring to a painting. Films are a big influence but I always create my own faux film stills to avoid plagiarising and copyright laws. Contemporary and historical art inspires me. I’m interested in sculptures, paintings, films, photos and Degas work for the misogynistic approach which I try to reverse in my portrayal of the feminine. I’m fascinated by the natural. Curiosity inspires me. Sometimes a subject can interest you for an unknown reason and it is this reason that makes it so intriguing.

MD:Where do you feel Art is going?
DM: Mark Rothko once said, ‘Art is a journey into the unknown.’ Painting had gone off the radar and was dismissed as an obsolete form of art for a while but contemporary figurative painting is once again becoming a dominant part of canonical art. Video art has made the headlines recently with regards to the first time the royal academy, London (2009) dedicated an entire room to it. Art will always evolve and regress and movements will be reappraised and shunned.

MD: What do you think is the role of the Artist in society?
DM: The role of the artist is to question society and make society question itself.

MD: What technique do you use?
DM: I use a variety of techniques and materials to create an overall effect. Techniques include Scumbling, Dry brushing, applying and extracting, wet on to wet, glazing, rendering, using closely valued hues, washes etc. Materials I use include, Michael Harding Artist Quality Oils, pure turpentine, brushes, rags, sponges, palette knife, and masking tape. I usually start with an undercoat of venetian red followed by the grid format of drawing. I initially work with the oils using the mannerisms of watercolour painting allowing the canvas to breath. It is easier to achieve a sense of depth and light this way instead of suffocating the surface with thick paint straight away. A lot of my technique involves drying and building up thin layers so I would normally be working on 4-6 paintings at a time.

MD: Which is more important to you, the subject of your painting, or the way it is executed?
DM: Both are equally important. I am very much interested in the formal concerns of the painting; light, composition, colour, tone, space, balance, etc while conceptually I look at the notion of making private life public and the idea of challenging spectatorship.

MD: Do you prefer a smooth perfect technique or a more energetic expressive technique,and why?
DM: In a painting, it is not the perfect or expressive technique I am interested in but the visual aesthetics of the formal concerns mentioned above. All paintings, regardless of technique should incorporate these elements.

MD: Who influences your Art?
DM: Edgar Degas, Pierre Bonnard, Eric Fischl, Alyssa Monks, Damien Loeb, Marlene Dumas, Edward Hopper, Andrei Tarkovsky, Cindy Sherman, Robert Mapplethorpe to name but a few.

MD: Do you work certain hours of each day or only when you are inspired to work?
DM: I work as much as possible, at times working through the night if I have a show coming up. I seem to work best early in the morning or late at night when I’m fatigued and less alert to my surroundings. Saying that, I work relentlessly throughout the day as well.

MD: What did you do when you first left art college, How did you survive?
DM: Luckily Canvas Galleries, Belfast signed me soon after my degree show and have shown my work there ever since but it takes building a reputation and constant promotion to be successful. An artist has an unstable income. I sold 13 paintings in 3 days once but unless you have the status of Damian Hirst, that won’t happen every week. You will find a lot of artists will initially need financial security to pursue the life of an artist and for many, art isn’t their main income taking the current state of the economy into consideration. The best advice I could give would be to paint, promote and be persistent. For every 10 galleries you approach at the start of your career, maybe only 1 will respond and they aren’t backward in being honest. Network relentlessly and make yourself known in the industry. Always have an upcoming show to accompany your current show. Beware of falling in to the commercial mindset and forgetting your artist morals. Create what you want to create regardless of selling. It will come in time.

Portrait of David McDowell (photography by Chris McFetridge)

AGAINST THE GRAIN (left - right) David McDowell, Kyle Barnes and Stephen Johnston at Alternative Academy '09

David McDowell, Stephen Johnston and Kyle Barnes sparked controversy on the Irish art scene back in April by initiating the ‘Against the Grain’ clique; a group of Realist Artists who countered critics’ claims that Realism is obsolete. David expressed, “Contemporary art has seen a shift in creative trends over the past few years. Realism is once again becoming a dominant part of canonical painting.”

The 23 year old Limavady artist added, “If my latest art work sells at the Academy, I’ll donate £100 of the profits to Diabetes UK.” Jennifer McGivern, National Fundraising Manager for Diabetes UK Northern Ireland said: “Diabetes is a life-long, serious condition and we are delighted to have such a high-profile artist offering his support and raising awareness for the charity.”

David, a University of Ulster Fine Art graduate, now has his sights firmly fixed on a forthcoming exhibition which opens 17 October ’09 in Houston, Texas, USA. “I’m looking forward to showing my art to an international audience,” said David, “I have shows coming up in Houston and Madrid over the next few months so all is going well.”

Kyle Barnes, 23 year old Cookstown artist, who is presently forging a career in the art industry says, “The opportunity to exhibit at the Alternative Academy has enhanced our profile so much. We’ve had a lot of positive feedback from the exhibition and have since been invited back for an Against The Grain sequel next year.”

Stephen Johnston, 22 year old Clough artist added, “The Alternative Academy has been a great platform for Against The Grain. We all have diverse styles of Realism and I think this is what makes the group so dynamic.” Stephen who is also making a name for himself on the art scene says, “More Against The Grain exhibitions are currently being confirmed so things are looking good.”

The ‘Alternative Academy ‘09’, hosted by Studio 23, Derriaghy Ind Estate, Dunmurry, Belfast, BT17 9HU, will now run until 24 October 2009. Public viewing will be Tuesday – Thursday, 12noon-3pm and otherwise by appointment. Free admission, all welcome. For further information or to arrange a private viewing, contact Mo McDevitt on 07912204260.

Alternative Academy '09 Opening

The 23 year old Limavady Artist, whose entry for the prestigious Alternative Academy was accepted last week says, “If my latest art work sells at the Academy, I’ll donate £100 of the profits to Diabetes UK.”

Diabetes UK are thrilled with the news. Jennifer McGivern, National Fundraising Manager for Diabetes UK Northern Ireland said: “There are currently 62,000 people living with diabetes in Northern Ireland and a further 12,500 who have the condition but do not yet know it. Diabetes is a life-long, serious condition and we are delighted to have such a high-profile artist offering his support and raising awareness for the charity. The money raised will go towards funding research into diabetes, campaigning for better services and offering support, information and advice to those living with diabetes in Northern Ireland.”

David took a personal interest in the condition when family members were diagnosed 14 years ago. “My Sister and Grandmother both have Diabetes so I understand the seriousness of the condition,” said David, “Hopefully using the Alternative Academy as a platform, I can help raise funds and awareness for the charity.”

The 5 day show providing a stage for both emerging and established artists is expected to attract art enthusiasts from all over Ireland. Director of the Alternative Academy, Mo McDevitt says, “This year’s show is predicted to be quite a spectacle and we don’t like to disappoint.” David added, “I’m told the opening night is to be outrageously entertaining so I’m excited to see what creative diversity is in store.”

The University of Ulster Fine Art graduate sparked controversy on the Irish art scene back in April by initiating the ‘Against the Grain’ clique; a group of Irish Realist Artists who countered critics’ claims that Realism is obsolete. David expressed, “Contemporary art has seen a shift in creative trends over the past few years. Realism is once again becoming a dominant part of canonical painting.”

David, currently represented by Canvas Galleries, Belfast, has just confirmed a string of exhibitions across Belfast, Houston and Madrid over the next few months. Canvas Galleries spokesperson commented, “He’s rapidly become one of the industry’s most sought after artists and we’re delighted to have him on board.” David says, “I have a lot of shows over the next few months but I’m just taking one step at a time starting with the Alternative Academy next week.”

The ‘Alternative Academy ‘09’ will be hosted by Studio 23, Derriaghy Ind Estate, Dunmurry, Belfast, BT17 9HU. The show will open on 24 September ’09 at 7:30pm and will run thereafter until 28 September ’09. Free admission, all welcome. For further information, log on to www.davidmcdowell.co.uk

Did the ‘Avant-Garde’ change the face of art forever? This investigation looks at the origins of Avant-Garde and the effect the ground breaking movement has had on contemporary culture.

Edouard Manet's famous, 'Déjeuner sur l'Herbe' ("Luncheon on the Grass") exibited at the first Salon des Refusés in 1863

The term Avant-Garde, meaning ‘Advanced Guard’ was first used in 15^th century French Military. The phrase described an elite band of frontier soldiers sent to encounter the enemy with the aim of plotting the path for the larger army to follow.

This concept was first used in artist circles by French Realist Painter, Gustave Courbet (1819-1877), who in 1850 declared himself as the founder of the Avant-Garde movement. 1863 sparked the official declaration of the Avant-Garde when Courbet was rejected from the coveted Paris Salon. His revenge was simple; to open the, ‘Salon des Refusés’, an exhibition of rejected pieces, directly opposite the Salon.

The Avant-Garde itself was not a singular movement but a combination of movements that challenged contemporary culture; Impressionism, Cubism, Surrealism, Dadaism, Expressionism, Futurism etc. The term became widely used in creative cliques to describe experimental creativity or the shock of the new.

The Avant-Garde ended around 1950 when it was no longer shocking, but accepted. Did it all happen too quickly? French Nabi Painter, Pierre Bonnard (1867-1947) claimed, “There was so much more to extract from colour as a means of expression. But developments ran ahead, society was ready to accept Cubism and Surrealism before we reached what we had viewed as our aim.”

So how has the Avant-Garde affected art today? Society has been left to question, ‘What is art?’. Isn’t art the creativity of the mind? …but since the creativity of the mind is endless, can we really define art? It seems art no longer has definition. Is it this instability that forces us to question everything?

The Avant-Garde is surely a perfect example of the ‘Butterfly Effect’ theorized by American mathematician and meteorologist, Edward Norton Lorenz (1917-2008). The ‘Butterfly Effect’ is the Chaos Theory of how tiny or insignificant events can have significant effects. For example, if a butterfly flaps its wings in Brazil, does it create a hurricane in Texas? The same principal can be applied to the Avant-Garde movement. Courbet is the butterfly; Contemporary art is the hurricane.

Are there any boundaries left to explore or have we as a creative collective exhausted all possibilities? It remains to be seen but one thing is certain; The Avant-Garde has changed the face of art forever.

If we refer to what is arguably Hoppers most famous work ‘Nighthawks’(1942) as illustrated in plate 1, we can identify psychological elements of his reclusive personality. Looking closely, the triangular bar area has no visible exit. This suggestion of confinement is supported by the rounded bubble like pane of glass window; the only visible glass structure Hopper ever painted. There is no apparent dialogue between the four people at the bar however, the waiters glance towards the couple suggest interaction is imminent.

plate 1

The couple’s arms placed across their torso acts as a barrier which in terms of body language, implies closing ones self off from the world.

The only light source within the piece comes from the bar which illuminates the vacant street outside. The peculiar atmosphere created by the lighting, may be due to the new invention of fluorescent bulbs. The composition is full of triangular formation which adds to the aesthetic nature of the piece. If we take the doorway of the shop across the street as a starting point we can make these observations. The green triangle in the window above the doorway is a smaller replica of the white triangle to the right of the doorway. This triangle is duplicated again and placed flat to the bottom left of the doorway. These clone shapes play a subtle but vital role in leading the viewer through the composition. This was no accident but a precisely calculated construction by Hopper.

As in many of Hopper’s works, ‘Nighthawks’ demonstrates the cinematic nature of his work. We as the viewer are thrown directly into the scene and in this case, play the role of someone crossing the street towards the bar.

“Unconsciously, probably, I was painting the loneliness of a large city” – Edward Hopper.

Edward Hopper, truly one of the greatest realists of art history, died in his New York City studio in 1967. His wife donated their joint collection of over 3000 works to the Whitney Museum of American Art, New York. ‘Nighthawks’ rests at the Art Institute of Chicago.