Taking on the history of art and making something new or original is very challenging. Everything seems to have been done before. Picasso said, “good artist copy, great artist steal.” Banksy crossed Picasso’s name out and stole what he said. “The bad artists imitate, the great artists steal.” Pablo Picasso Banksy.
Advertising was stripped and cleansed by Warhole as he took and re-aligned it’s image, colour and details. Pop art mirrored the overload of capitalism by using the tasteless and repetition of consumerism itself. The minimalist through their dislike for capitalism made no attempt to represent the outside, they approached art making differently, by focusing on materials and order, the form of the work became their reality. They accumulated objects and striped them bare. The supermarket stack became a careful composed stack of bricks reflecting the coldness and emptiness. The minimalists, like the pop artists before, wanted to say wake up and smell the coffee, capitalist and consumerist objects are empty and without meaning. No matter how much you buy there is still no hope of transcendence or ascendancy.
I strove to create a dialogue with what came before, Pop art, minimalism and Koons amongst others. However, my work has developed over time, and through setting up my own system of working, my thoughts have moved on. I am no longer focused on creating a dialogue about consumerism even though that’s where I started. My work has deepen and expanded through the process of making. My painting ‘the quality of absence’ allows the viewer to indulge in their own taste and expectations.
I now experiment with and explore a visual grammar. I take shapes and forms with colours and look for the underlining beauty beyond the emptiness of the surface culture. This work is extremely hand crafted with physical man made marks made through painting. By exploring pictorial convention I have developed an interest in the language of space; the space between art and life.
This new work certainly seems to have struck the right note, ‘the quality of absence’ has gone to a new home. The home of one of my customers.
Hopes and Fears (2007) symbolises a key tipping point in my career. It was the most successful painting from my work of this period, when I painted with a representational figurative style. It has been exhibited in many places from London to Los Angeles and has won two prizes. Needhams Open in Cambridgeshire in 2008, and X-Power International Art Competition in Beverley Hills, California in 2009.
Background to the painting.
“The piece ‘Hopes and Fears’ by Stuart Bush is profoundly influenced by London’s city streets. In the foreground, a well-dressed man blends into the city, giving it a dreamlike quality somewhere between fact and fiction. The work obsessively documents a personal psychological journey relating to themes of guilt and obsession with everyday consumerism. Space, structure, angst, alienation and juxtaposition are all key elements with this work.”
Back to the story…
I got off to a bad start at Wolverhampton when l didn’t get into the halls of residence. This meant l had to find a shared house to live nearby.
When starting as an artist rather than waiting for a big idea, I took my camera to the city. I took pictures of everything and anything that interested me. I just pressed and released the shutter. When l reviewed my photos, l realised that l was naturally discovering interesting material. My ideas came from living, painting and repeating.
When returning to the city with my camera, l followed my natural curiosity and my ideas deepened and expanded. At times it was hard to choose which way to take my work. It was essential to review and understand what l had. I took many directions but kept returning to taking photos of the city and taking them forward by painting them on canvas. The trick is not to give up Helsinki Bus Theory link.
I realised over time that my original idea was chasing some obscure knowledge through a simple process that I could repeat.
I feel like I have been painting the same painting for ten years as now I realise that my original ideas just got the work started. The original idea is still in my work but it has changed and developed in ways l could never have predicted. My work has grown to portray something unique that help us to understand our life on this earth a little better.
These seeds begin to germinate in many different directions like a plant does when it is attracted to light and water. It has taken many years for my original ideas and intentions to bloom into flowers. Now the interesting thing is not my original ideas or intentions. It is that l have found my way to communicate; my unique voice and inclination. As my work has deepened and expanded, it has lined up with natural talent, unlocking bigger ideas. Bigger ideas that l could never have predicted ten years ago.
The point of this post is that it is impossible to know where your practice as an artist will take you. One of the biggest challenges is learning to trust the decisions you make and to stop doubting yourself. Instead, l have developed confidence in my inner voice even when l can’t see where it is taking me.
My advice is to play, as there is no such thing as a mistake. Anything can lead to a breakthrough. If self-doubt is getting the best of you put your trust in a process and live, paint, repeat.
Over time when you review your work a way forward should reveal itself. Trust yourself and your creative process. Rather than paying attention to your own intentions, pay attention to what the work actually does. When the thinking and doing come together the work becomes more convincing.
Allowing freedom in the studio for creativity exploration is essential. When I work on a plain sheet of paper or in my sketchbook, I seek to have an openness in my drawings that allows and embraces a large number directions and options that can be pursued. A chain of evolution takes place in my pictures over an extended period of time and patience is essential. Working on and towards a finished piece too early can make the outcome contrived and often can leave me frustrated.
This explorative phase is more like problem-creation stage than problem-solving stage. I am looking to generate new ideas to stimulate my visual imagination and leaving space for creativity and ambiguity. I have often found that without this freeness, the development and exploratory of my thoughts are restricted, and the work comes to a dead end.
With creative freedom in my drawings, my insight and intuition give me an inkling of what to do next allowing me to focus on specific issues and open questions. I can then remove certain details and concentrate on the whole by copying and repeating to expand conceptual ideas and structures by following a hunch.
Inspiration is an essential ingredient and can come from chaotic and imprecise work made with an open mind or by viewing another artist’s work or for me, by being inspired by the city. Accidents and chance can lead to seeing embedded ideas in a different way. The freeness leaves space to suggest moods and emotions and enhancing abstract concepts. I often feel the need to revisit unresolved ideas and expanding on them. Sometimes this leads to radical changes and often, exciting new artwork.
It is always important to remember that overworking can remove the essence, spirit, the actual original thoughts, and potential. The outcome is successful when the liberty and pleasure are still visible. After all seemingly effortless art signifies greatness and shows the way forward for an artist who can then capture what is immaterial into the material.