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.
It is up for sale here or alternatively contact me directly through email or Facebook.
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 was born in the UK in 1978 and while growing up my family and l moved to several different parts of the UK. Moving around the country had an impact on my education, and l only put effort into the classes l liked and ones that came easy to me, like art and design.
My first ambition as a child was to be a stunt man, as l was a big fan of The Fall Guy, The A-Team and Airwolf! But my passion and talent for art started at an early stage. I had an interest in drawing and it seemed to come easily to me, I soon realised that being a car designer or an architect might be a little more realistic.
At 16 when l received my final grades l realised l had to reconsider becoming a car designer or an architect as l would need to be good at all subjects to meet university entry requirements. Nevertheless, l continued my education studying Art and Design ‘A’ levels with the intention of being a designer of some sort. However, after my ‘A’ levels, the foundation course in Art and Design l studied meant that rather than having a design portfolio to get into a design course at university l ended up with an art portfolio! The foundation course l studied was not Art and Design it was more like Art and Graphic Design.
Nevertheless, l enjoyed the course even though l ended up in a different place than l intended. I received advice from my college tutors who suggested that l studied Illustration at university. I didn’t know what l wanted to do and l didn’t think too much about my future as an Illustrator but l took their advice and gained a place at Wolverhampton
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.
Not getting into halls of residence limited my number of people I knew significantly. My friends were mainly the people on my course, and I lived with 3 of them. In my second year, I also realised it was the wrong course at the wrong university. Things went from bad to worse and I wasn’t happy and wanted to leave Wolverhampton and change classes.
I was determined to make a change and make the most out of the situation. I approached my University and said I wanted to transfer universities. I meet with a lady in an office, and she told that the university has additional places on an international transfer to America. The were places available to go to ISU Illinois State University near Chicago in January. At the time this was only nine weeks away, and I was given one night to decide. I was lacking self-confidence and very concerned about going, but I was determined to make a change, and this appeared as my best and only option.
After a very long conversation with my family, I applied the next day to go to America on an international transfer. I enrolled in painting and photography classes. It was very different from Illustration course at Wolverhampton. It suited me better, and I gained a great deal of much-needed confidence in my self and my abilities.
In Chicago l started three studio classes including Painting, Drawing and Photography which wasn’t easy as there was a heavy workload. I quickly made two main groups of friends and lots of other friends in the inernational halls of residence. One group who liked partying and another group who liked a good time aswell as making art. I was torn between the two. I took me a while to realise who my real friends were and thankfully they were the hard working artists. This tough decision was a central life changing decision.
I enjoyed both the painting and photography classes l was enrolled in and they have both become a major part of my Art. This life changing trip had a fundamental effect on me and l was helped by being able to travel to many parts of the US. I returned to Wolverhampton to finish my degree with ‘A’ grades from Illinois State University and with a new passion for painting and photography and a new self-belief!
After university l had the confidence to go travelling on my own for six months visiting Hong Kong, China and Australia. During my travels l carefully thought about how l was going to make a living when l returned to the UK. I realised that l was not in the position to make a living as an artist, so l thought carefully about getting the right type of full-time job that suited my needs. I ended up choosing a job with a four days on and four days off shift pattern that l have grown to love. This crucial decision was base on my determination to become an artist and it has paid off.
After a few years of full-time work l started an MA in Fine Art. I now rent a painting studio a few miles from where l live and happily paint at every opportunity. The decision to go to America was certainly life changing. It was where l found my passion for art. I now look forward to everyday with my varied and exciting life.
In my artwork, I am interested in these moments to give myself a better appreciation of the world. I am interested in considering the world anew from a fresh perspective. We often overlook the familiar, and I want to explore its depths. I want to become more aware of the humble things we ignore like volume, form and space. I want to pursue a direction where I take note of and record the visual information from the beauty of nature and the material world that is right in front of me.
My intention to create a re-enchantment with what is unnoticed and to appreciate ordinary moments. Abstract shapes and imperfect forms have no obvious signs of importance and are seen as unimportant. I want to draw attention to their overlooked beauty and their aesthetic qualities.
The paintings are not an exact transcript of the scene but a perceiving of the scene. They focus on simple forms. Creating space for silence and thought in a world where everything is constantly moving and unfixed. The paintings are a window of reality, telling no lies, reinventing nothing, just recording, a reworking of the spatial chaos of the visible world.
In the paintings, the flat images are to help us deal with the complexity of our perception. Our minds automatically make connections with the shapes. There is a lack of perspective, there is no direction of light, and they have different rules of composition. The shapes and forms are like the pleasurable moments of seeing an elephant in the clouds; the forms slip between representational and abstract pattern. At this point forms and content merge into together like a beautiful poem.
This painting is on show at Leyden Gallery, 9/9a Leyden Street, London E1 7LE. There is a private viewing between 6:30 – 9 pm in 18 July 2017, please come along.
My art studio is on the top floor of an old shoe factory in Northampton. I have been working in this space for over ten years now. The space is quite full. Ten years means ten years of equipment, ten years of paperwork and ten years of ideas on paper and canvas.
I have weekly access to London where I go looking for inspiration to bring back to the studio and process my ideas. It is great to have the exposure to view the best galleries and exhibitions and to be able to walk the streets of London with my camera.
A studio is a place of unique freedom; it is a place for me and my thoughts where I can figure things out. It is a place to use my intuition to look for problems, get things wrong, make mistakes and follow a hunch. I have learnt a way to lie to myself, and accept whatever comes out of the creative act is good enough.
I feel a strong need and desire to process the world. Thinking about my artwork is done in pencil and paint as I process what I see, as I look to figure how to process it. I believe that what I am trying to grasp through my art practice is of importance, to get a better understanding of the seemingly meaningless void, what we call life.
Through my practice as a painter if I painted nature I would want to paint the treeness of a tree, something that resonates strongly with us. In the lines and colours of my ephemeral moments I look to reflect a visual equivalent of the rhythm the city. The work deepens and expands to harmonise the whole. I paint my inclination of form from the structural elements of the figure in the city to express us. A simplified and symbolic vision that selects what is essential through reduction. In between representational and abstraction, reality and painting.
Josef Albers said in the Interaction of colour, “In musical compositions, so long as we hear merely single tones, we do not hear music. Hearing music depends on the recognition of the in-between of the tones, of their placing and their spacing.” This quote is important to understand how I see individual pieces of my work in the studio as linked into a wider conversation I am trying to have. My blog is titled “The Poetic Painter, Painting in pictures rather than words” because music, poetry and painting have a lot of similarities. Like David Salle said, an iconic image has the “visual equivalent of a tenor reaching a high note.”
I enjoy my opportunity to communicate my thought and ideas. I like to hear what you enjoy about your creative time. Please join in the conversation in the comment box below.
I am taking positive steps to make me more productive in the studio including things like planning and reviewing what I am going to do in the studio before I arrive and creating some studio ground rules.
I have a list of current projects and series of work l am trying to complete. Before l go to my studio I write down a short list of next steps l need to take, often between two or three depending on long each one will take. This brief list is hand written in my diary, so it is clear to follow. This way I know what my first task is, therefore avoiding beginning with an extended period of uncertainty. Of course, uncertainty when painting is always present, but I try to remove it at this stage with preplanning.
To choose the right tasks, I ask myself a series of questions; If l only achieve 2-3 tasks in a day what would these tasks be and would l be satisfied if l only get these done? If I made only one work of excellence, which one would make an enormous difference and have the greatest consequences?
To help keep my mind clear and on creative studio time I write down all the distractions l might encounter on a to-do list. Plus l avoid all office and business related tasks while in the studio to avoid all low-level activities. Even if these task are urgent, I still try to do them after my creative block of time of one to three hours. The creative time must come first.
The rules I have put in place while working are;
Phone on silent, select music quickly (if I choose to listen to any at all), no tv or video, no newspapers, no friends dropping by, no emailing, no internet research unless it is related to making my next work therefore, hopefully, no diversions and distractions from the creative task ahead.
If you like my post, please join my mailing list for my monthly email newsletter or if you have any suggestions to improve productivity in the artist’s studio please comment below.
I have an inherent need to communicate and express something. I am constantly looking for a new way to read the world to understand the physicality of forms. I see my practice as an exercise of being a painter/curator of moments of our lives; reclaiming a more agreeable melody, restoring, reordering and decluttering to focus on what is truly important.
By focusing on the space and the possibilities of structure and composition, I hope to emphasise the beauty and harmony from the chaos in the city, to invoke a new reading of its noise, movement and pattern. By revealing things through a slow open process, my work uncovers the importance of the positive and negative space. Where rhythm, colour and form play off each other, and each shape takes it configuration and meaning from the next, as a metaphor for the qualities of a seductive poem or an intriguing piece of music.
There is truth in the paintings as I try to deal with the present tense and how these ephemeral junctures were for me. A situation and context where discoveries and revelations happen. There is a layered time as I grapple with evidence of awkward moments, aspects of failure and changes of direction. Leaving the physical traces of responding to mistakes, that relate to intrinsic qualities of being human.
I like documenting the world with a camera as a way to stimulate my visual imagination. By viewing the world like a voyeur, I can focus on aspects to home into, capturing a moment in the viewfinder. I am constantly looking to find a way to make the invisible visible.
I don’t think you can ever underestimate the use of play and intuition at this point. The following work from the photos can go in almost any direction, finding ambiguity in the work is essential. To stimulate my imagination and generate new ideas I sketch with an open mind in paint, pencil and mixed media. The work itself often directs a change of medium. This long process is different every time, it involves searching, analysing, selecting, editing, improving and rejecting the photographs, and the prep work, combined with other visual and textual information in the studio creating a multifaceted sketch book.
The paintings come out of drawings, and a significant amount of labour takes place behind the scenes. The work is often a struggle, and as an artist, I am often overwhelmed with self-doubt. Afterwards, the work may look as if it was achieved quickly without effort. But I am aware that a reductive sketch, that may seem effortless, can often signify ability and skill.
During the problem-creation stage my thoughts and skill are juxtaposed with accidents of the initial rough ideas. When I was trying to get my thoughts down on paper I recognised the potential in this study above straight away, even though it is a simple coloured wash made in a few strokes that came about by chance. It is too easy to lose the potential when trying to repeat it or refine it and knowing how to turn it into a finished work. Over working and excessive labour can remove the movement, action or expression. At other times it is not easy to recognise potential straight off. This is where time helps and why I move my work so I can’t see it for long periods of time.
The space for play and chance to expand conceptual ideas is part of a process, as work passes through many physical processes. The challenge of creating a finished work from the prep work is repeating and keeping the problem-creation open. Often when the process does not allow imprecise marks, smears and stains to inspire radical changes at any stage of the process, the work can be still born and dead. All the works l make are biographical and very personal.
If you would like to read what other artists have to say on this subject please take a look at;
I prefer a buttery, creamy paint; that is easy to manipulate and handle. This is why Michael Harding’s Artists oil colours have become my first choice. The strength of colour in the pigment is evident. There is luminosity that speaks volumes, making my work stand out. The flow, workability, usability and colourfastness of the paint is highly relevant to me.
I have noticed some other brands add less linseed oil into their paint, and this affects the usability and finish. Drier paint gives a matt finish while paint with more flow gives a glossy finish. I have found that tubes of oil paint from other manufacturers with slightly drier contents will become unusable over a year or two, and this is very frustrating, though a hard, dry tube of paint can be useful at times if you require a matt finish. I found that the best solution is to use a medium as mediums improve with handling and can increase the glossy finish.
Do you use any of these products in your daily practice? Your welcome to add your thoughts and start a conversation below.
Thinking about this question has made me think a lot about why I have chosen to be an artist. There are many things why people give up on the dream of being a successful artist. For example, because there is no stability and no regular income. The chance of making it into a household name like Jeff Koons or Damien Hurst are highly unlikely.
Michael Craig-Martin once said, “when you’re 20, there are 50,000 other artists, by the time you’re 30, it’s down to 5,000, by 40, it’s 2,000. If you make it to 70, there are only 12 of you left, and you’re all famous.” As the decades go on many understandably give up and realise it very hard to bring up a family on the small amount of money.
For artists that continue their chances improve and after several decades, when most artists have given up, your chances get better and better.
Another way to look it is, rather than seeing success as money is that I am already complete. I can continue what I love to do, to got the studio and be creativity, and I am already able to bring up a family through my full-time job.
Success for an artist could be seen as, how Coach Wooden the highly successful American basketball player and coach sees it; “Peace of mind, attained only through self-satisfaction when knowing you made the effort to do the best your capable of. Your the only one that knows that. You can fool others but not yourself.”
By viewing it this way I can keep a playfulness in my practice. So for me, success does not lay in being rich or famous or in my artwork but my relationship to my artwork and following a hunch in my work.
I think about the present moment, as my relationship is forever changing with my practice and whether I am doing the best work I can with the resources available. I have the urge to direct my life in they way I want and through my art, I realise this is the area I have to most control in my life. Most other relationships in life like, friends, family and occupations are much more of a compromise.
I also believe I am capable of so much more and I have hardly started. By working on what comes naturally, playing off my strengths, using intention, instinct, thought, imagination, observation and curiosity I can make my work a manifestation of me.
I want to use my intuition to reveal meaning and draw attention to something using my skills as an artist. Possibly, making it a lifetime’s work and into what Alex Katz the american painter calls, ‘the big technique’. As I have a yearning to work towards something that is much bigger than myself and add extra meaning and understanding to what it means to be human on this rock.
Paul Graham describes the difference between two types of time. Makers schedule and the Managers Schedule. I like how his simple explanations defines the two; Firstly Managers Schedule’s are cut into appointments around an hour long, sometimes longer, sometimes shorter for a single task.
While the Makers Schedule, is generally scheduled for about half a day sessions, as an hour is only normally enough time to get started.
This is all fairly obvious so far, it gets interesting when the two meet in daily life. As an artist you need to work with both schedules, to be productive in the studio and for meetings or social time.
A meeting in an artist’s day can really affect the productivity in the studio. Being aware of this helps me understand how to plan my studio time and business tasks for the week. It is important to plan for each day and review the plan the day before. I try to work out 2-5 tasks to achieve and with an understanding of how creativity works it is then possible for me to overcome procrastination and to be a lot more productive in the studio.
When working on business tasks or managers tasks as an artist, it is important not to let these stray into your studio time as this can be a time and energy killer. Studio time needs the creative, open mind. We need to be in a relaxed, less purposeful mode where we are more contemplative and playful, allowing our creativity to take over.
Whereas Business tasks or managers tasks generally require a closed mind as there is little creativity. By batching business tasks or managers tasks into blocks of time, they can be done away from the studio. Putting emails, social media activities, meetings and admin tasks into a preplanned time slot just like the studio time means greater productivity. Doing business tasks often makes the artist a little bit anxious and without humour. There are lots to be done to become a successful artist and overlapping the Makers time, and the Managers schedules can be counterproductive.
Unfortunately, business tasks or managers tasks have a way to find their way into the studio at times. For this, I recommend reading the book, Eat that Frog by Brian Tracey, and consider his helpful suggestions for removing distractions.
There are many reasons why l wanted to be an artist. But the main attraction is the creative process. As an artist l can take an idea or a hunch and using my creativity and skill, which has grown over many years, bring the concept to life. The process of turning an idea from a thought to something of significance takes a set of unique skills mainly involving play and experimenting with what works best. The whole process and journey is a stimulating challenge. Once the idea if finally completed, once l am finally satisfied, it becomes an object and an initiator of further ideas for both myself and the viewer. Completing a project gives me an enormous sense of achievement which even overcomes any of the exhilarating ups and downs along the way.
Karl Marx talked about the problems of consumerism and the alienation of labour. He states that if you are cut off from the fruits of your labour, then you are cut off from your creativity and you lose your sense of self. I think this is one of the main problems with the Western consumeristic society. People are not in touch with the output they make or the completion of the tasks they carry out. I believe this causes many psychological problems with our individual purpose. During the process of making art l get closer to my deeper self, the artwork becomes an extension of me, my purpose stretches out before me. No-one else can make another exactly the same, no-one else has my thoughts.
This is an interesting thought provoking short video on Karl Marz on Alienation and about what makes us human.
Being an artist and being creative connects us directly with being human, and that is the main reason I love being an artist.
The drawings above are for sale, if you have any questions please inquire or join my mailing list to keep up to date.