ARTiculAction
Paul Ashton
Control and synergy between tradition and experimental over alternate artist fields does seem to have its own challenges however understanding of aesthetic nuance is I believe a must…certain if we consider Steve Mcqueen’s ability to “take a good photo” has helped his work. Although I haven’t worked much away from the 2D recently I still consider the ideas through a 3D aspect. For example whilst I have made installation which engage which all senses I believe that my 2d still benefits from the inherent aspects of story line situation atmosphere narrative. Actually my latest paintings I refer to as songs, given that they have a storyline and to some extent melody,swell and a repeat idea or motif. Much like you know a quentine taratino film when you see it. I would hope my two latest piece “lil girl big gun” and “Bad Moon” do the same. During these years your works have been exhibited in several occasions, morover your paintings have been published in Rooms Magazine and you were awarded with a public commission by Morley Council for Leeds ... it goes without saying that feedbacks are capable of providing an artist of an important support, which is for sure not absolutely indespensable, but that can stimulate to keep on with Art: I was just wondering if the expectation of positive feedback could even influence the process of an artist... how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces?
With regard to receiving commissions. Yes they are great for paying the bills and keeping food on the plate. No artist worth there salt could possible argue with this? Except perhaps the likes of Jeff Koons who well.is Jeff Koons…A rich man who owns everything but being poor. The UK art scene has lots of middle class kids living on Mummy’s and Daddy’s wealth who mess about for a few years before settling down with a city boy. They play at poor.
We are all in love with the artist starving in his garret. I really do live this way. I live in a terraced house, which is in slum called East End Park in Leeds I have not “moved to London”. However wonderful critical feedback is in its fleeting warmth I think that making art for that reason is a desperate and addictive existence. I make art because I can; I make art to make a mark, however slight, on eternity… My audience may be nothing or millions but I doubt ill be around to know it… So the expectation of positive feedback is not something I would ever think healthy to depend or act upon. Thanks a lot for your time and your thoughts, Paul. My last question deals with your future plans: how do you see your work evolving? Anything coming up for you professionally that you would like readers to be aware of?
My practice has now meant a further studio is required so we are now looking at taking larger space which I would hope mean larger work and more work. We are also talking to print makers to make very very limited editions, which may appear on product lines. I have been invited to show on behalf of the Green Party Locally to where I live, and a number of offers are still in the pipeline. My work I hope will be more easily available in future. I am very please to be able to announce we have finally agreed to not publish with Washington Green, the UK’s largest art distributor. We are just about to launch Paulashtonart.co.uk. Which will be a showcase and archive bringing together all my works, events, media and shows going back to 2007. A selection of my original work will be available through Saatchonline and my prints will go through Artpistol.co.uk (who are a very exciting independent and supportive online gallery from Scotland).