8 minute read
Nostalgic Narratives
by artiqannual
A conversation with artist and printmaker Adam Bridgland about nostalgia, the visual dynamics of written language and waking up next to people that make you feel happy.
Artiq Adam - you studied Print and Photomedia at Norwich School of Art and Design before completing an MA in Fine Art from The Royal College of Art in 2006. What first prompted you to become an artist?
Adam Making art always seemed right and never a challenge. For me it was just fun and a way of expressing myself. From an early age, I loved drawing birds, planes and racing cars and the appreciation I received for my works from my family and friends probably planted the seed that I was okay at making imagery. I was very fortunate that my family took me to museums and exhibitions and from there you can see that art is something you can do as a grown up! I think however it takes a long time to understand this and fully embrace the title of an artist. I am now in my 40’s and I think it is really only in the last 5 years that I have felt comfortable in saying I am an artist! Maybe this is because you are always developing and growing as a practitioner, and it really takes time to establish yourself within the creative world.
Artiq From printmaking and painting to sculpture - you work with such a wide range of processes and materials. How does your practice change based on the medium you're using, and does different material allow you to express different ideas or concepts?
Adam I have never tried to tie myself to any medium. I think it is dangerous from a career perspective to say “I am a printmaker” or “I am a painter”. Why should you pigeonhole yourself when being able to make and create is so liberating? I am interested in all mediums and depending on the project I will work and choose whatever I feel works best to the brief. I suppose I am quite like a project manager or designer in that way. I have always worked better when a concept and deadline is given.
I like there to be a start, middle and end, a framework to work within. However, throughout my practice you will see a link to print. I have always been interested in the multiple and how an artist can manipulate the idea of the repeat.
Artiq You often reuse found objects in your practice, such as postcards or vintage photographs. Is this act of recycling important to your creative process, and has this changed over the course of your career?
Adam I have always been a collector and my studio is full of old photographs, guidebooks and postcards. I suppose as your artist practice is a continuation of your identity, I have always been interested in using found imagery and appropriating this in my works. I suppose that the lockdowns in 2020 from Covid amplified the use of this imagery, as without being able to use external studios to make work I had to be more resourceful with the ephemera kept within my home studio.
Artiq You often reference British idioms, lines of poetry or stock expressions, adapting them in a way that may seem revealing about the mundaneness of everyday life. Equally to the meaning, typography is another central element to how you approach working with text - how do you think about visual appearances of the written word alongside linguistic impact?
Adam For me text is a way of instantly getting the attention of the viewer. The best texts though have two or three meanings and I hope that people when viewing the work see this and get this hidden depth, alongside the connection to the appropriated imagery. I have always written poetry and music alongside taking notes about the everyday and the world around me. I suppose I am trying to romance the mundane as I think there is a lot of joy and beauty in this, which we tend to ignore as the white noise that surrounds the highlights.
Artiq Something that has previously been said in relation to your practice is how it carries a “sense of loss and nostalgia that permeates our memories of distinctively British sentiments.” Can you tell us more about what you think is uniquely nostalgic about British culture? And what do you think we are nostalgic for?
Adam I am not sure if I have completely figured this out yet in my practice! So far I think there is a comfort and safety in nostalgia which helps people understand the everyday and build confidence in the future. I also think we are constantly trying to understand our identity, who we are and what have we come from. I am not sure if we ever really understand this and that is why we return to text and imagery.
Artiq Has your practice impacted your thinking around ideas of identity, belonging and, fundamentally, about Britishness?
Adam I have always been fascinated by fan clubs and how this bookmarks moments in our lives. As a child I was part of the Lego club, the Beano club, the Airfix club, I collected Panini stickers. It gave me a sense of belonging and this was fortified by the fact you received badges, certificates, and gifts. Art and music are very much like this, and your appreciation is a continuation of these childhood clubs. They define are personality, give us a sense of identity and belonging in the everyday. Throughout my artistic career, for many of my projects I have created works that everyone can feel part of, whether it is an embroidered patch or pin badge that someone’s takes away, it is an object that can be held as a token of my practice, of my identity that in turn informs that person’s identity.
Artiq From Croydon to Kyoto, you have exhibited works around the world. How do you feel these places, environments, and cultures affect the impact of your artworks?
Adam Travel and explore as much as possible, this will give you a much more rounded perspective about life and culture. Being able to exhibit in a range of places is such a huge honour, and the experiences that I have gained from these visits feeds back into my art practice.
Artiq You've previously spoken about the “rosetinted, wistful spectacles we don when thinking of the past, as well as the future”. Do you look at the future with rose-tinted glasses? If so, what do you see?
Adam At the moment I am just very grateful that people are taking notice and appreciating my work. For me I hope this continues for many years. The small orbit around me has been very kind recently and no one should ever take this for granted. Be humble, nice and surround yourself with loving family and friends.
Artiq Some artist's work we only ever get to see in traditional gallery settings, with white walls and perfect lighting. We've had the pleasure of seeing your work installed in public collections and commercial institutions, in the centre of cities and on beaches along the Suffolk coastline. What kind of setting would you like to see your work in next?
Adam I have always looked to present my work in a number of places. I won’t wait for things to happen so if I can create interventions in the everyday this keeps me and my practice exciting. I am also interested in affecting people who perhaps don’t traditionally consider art or would visit a gallery or museum. Art and creativity is hugely important in our everyday thinking and expression. If I can influence the few by installing a sculpture on the Suffolk coast for example and from that the viewer looks at the world differently and starts exploring something new, something not considered before, then I think my practice has done a good thing.
Artiq Do you have a favourite line or quote you keep returning to?
Adam A favourite line of mine is “While we have this moment please say something cinematic.” However, it isn’t everyone’s favourite, so I have to salute “I Need This Wilderness For My Heart To Beat” and “Wake Up Next To People Who Make You Feel Happy.” Without these I wouldn’t have a career or the pleasure to be answering these questions.
