A review of Sean Scully’s work by Stuart Bush

A review of Sean Scully’s work by Stuart Bush – ‘Uninsideout’ exhibition, BlainSouthern London until 17th November

Stuart Bush Studio Blog, Sean Scully review
Sean Scully, What Makes Us, 2017. ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
In a career spanning 6 decades, Sean Scully in 2018 has 10 solo shows around the world, including an exhibition of sculpture at the Yorkshire Sculpture Park until 6 January 2019.  During this review of Sean Scully’s work at ‘Uninsideout’ exhibition at BlainSouthern in London, I want to discuss Scully’s approach to the use form and colour and the intensity in his work.
 
The Irish born abstract painter Sean Scully grow up in London.  He later moved to New York where he established a studio.  Sean’s work explores a grid structure as a way to interpret the urban and natural landscape.  
Stuart Bush Studio Blog, Sean Scully
Sean Scully, Uninsideout, 2018, Installation view, ©Sean Scully, Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Sean’s initial interest in art came from viewing Van Gogh ‘The Chair’ at the Tate every weekend for 6 weeks. The painting profoundly moved Sean. He admired how the painting was honest and direct. It lit a spark in Sean and lead to his early work.

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Tommas Abts Serpentine exhibition
 
Sean approach to painting has a similar intensity to Van Gogh’s ’The Chair’. He responses to thoughts and emotions with genuine integrity. Sean’s grid structure enables him to capture the rough, falling down feeling of the city. The muted light and the geometry grid facilitates a way to capture the unique beauty of the subject.
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, Uninsideout, 2018, Installation view, ©Sean Scully, Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Sean Scully explaining his work, “I am paraphrasing nature, I am making the grid which is an intellectual framework, that we have invented, in order to order our cities.  I fill it up with information that is already in the world.  From the sky, the trees, the rivers and so on, all those sensual forms of information are gathered into the work to inform it, to enrich it, to bring it into the human spirit.”
In advance of the act of painting, Scully carefully works out the drawing of the grid and his palette of colours. This takes away many decisions while painting, and leaves space for a surprising amount of freedom in the making. Scully can focus on the noise, movement and pattern of the surface.
 

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Understanding the 'Oak Tree' in conceptual art
The paintings are inspired by the cityscape with blocks and forms, or by horizontal lines forms a natural landscape opening up space for interpretation and mystery to the viewer.  Unlike conceptual art, where the intellectual idea is clean and has a resolution, Sean’s paintings are like open questions allowing the viewer’s mind to wander across its surface. This is because the thinking and doing are in-separatable, it causes the viewer to always fall short of understanding the artist’s direct experiences that inspired the art.  
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, What Makes Us Too, 2017. ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
Scully has a sensitivity to colour.  His palette is inspired by the colours of nature and space around him. They are always finely calibrated colours, consistently hushed and sombre tones echoing the landscape. There is always a sense of the material in the work.
 
In the painting ‘What Makes Us Too’ (2017) he uses a brighter palette of colours.  This work inspires thoughts of the exuberance and rhythm of contemporary urban life, including sexuality, lipstick and power.  This series of work, as a result, is more decorative than his usual work.
 

Related external links – A review of Sean Scully’s work

SeanScullyStudio.com
Scully has said he doesn’t like using unsophisticated bright or brash colours. He much prefers rich, refined tones. Colours that are not there to make an encounter happen.  The colours in Scully palette come with their own natural, highly developed meaning which is delicate and complex. They are less dominating and with subtle degrees of graduation.
Stuart Bush Studio Blog, Sean Scully
Sean Scully, Landline Near Blue, 2018, ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
I really enjoyed seeing the varied body of work in this exhibition at BlainSouthern.  Through focusing on the surface, Scully is able to reduce the decisions he has to make. This way of painting leaves space to focus on the two crucial aspects of his painting practice. The first is the intensity of the art.  Through having many of the decisions worked out in advance, Scully can concentrate on the distinct characterises.  The precise meaning is brought into existence by amplifying how powerful and intense the painting is.
 
The other important aspect of Scully’s paintings is about how two things come together through a visual intelligence.  As Scully explains, “This really is the human problem how we come together.  How do the things in the world come together.”  As Sean Scully says, “Abstract art really is like music without words.” Scully’s paintings allude and invoke the way we experience the landscape as a mental state rather than a conscious effort.
Stuart Bush Studio Blog, Sean Scully review
Sean Scully, Landline Near Blue, 2018, ©Sean Scully Courtesy of the artist and BlainSouthern, Photo Peter Mallet
 

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Dyslexia isn’t going to stop me

Stuart Bush Studio Blog, Dyslexia isn't going to stop me, A section of ourselves as a commodified object
©Stuart Bush, A section of ourselves as a commodified object, oil on aluminium panel, 80 x 120cm
I avoided practising my reading and writing skills as I grew up. I easily slipped through the net due to changing schools several times. It took me a long time to read a book, however, I started to enjoy reading in my twenties. At 27 years old I was diagnosed with dyslexia. It took me a while to realise that dyslexia wasn’t going to stop me.
 
I didn’t enjoy writing before I had a blog. I always felt my writing was poor. The way I used to get my ideas down on paper was confused and in a jumble. In spite of that, I believed that my ideas and content were good. It used to take an enormous amount of hard work to take my ideas and make them into a finished piece of writing.
 
It is almost impossible to become an artist without being able to communicate clearly. I needed to not only to be able to write about my work but also talk about it. Hearing that there are lots of successful people with dyslexia encouraged me. I thought to myself, ‘It didn’t hold them back, so it isn’t going to hold me back! I need to face my fears”

External link – Dyslexia isn’t going to stop me

How Technology Helped Me Cheat Dyslexia
 
The only way I was going to improve was through practice. One of the main reasons l started writing my blog was for myself, for my own improvement. 
 
My purpose and the reasons why I write has developed over time. Now use my blog to explain and demystify how to establish a successful artistic practice. I give a raw unfiltered analysis, sharing what I find with others in order to help them develop a way forward with making art and becoming successful.  Through collaborating as artists, we can figure things out together. When you read, comment or purchase a work of mine you are collaborating with me on this journey.
 
In the beginning, writing this blog stuartbushstudioblog.com was like a type of therapy.  However, because of this journey, of facing what I fear, I now feel stronger as an artist. The best part is that I now enjoy writing!  I wonder if I have a book in me.

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The Benefits of Adversity

What is my motivation as an artist?

Stuart Bush Studio Blog, Inclination of form, What is my motivation to be an artist?
©Stuart Bush, Inclination of form, oil on canvas

My motivation as an artist has to do with my intense need to communicate something that only I can do or say. I have a meaning to fulfil through my work, and I am declaring that as an artist that I am responsible for finding answers.

Painting is the best way for me to communicate. I believe that painting and playing with form has the potential to capture the most important kinds of expression. I see it as a foundation for thinking itself and solving life’s complexities.
 
I’m interested in expressing the physical vigour of the human body in the city landscape as a means of exercising the freedom and dynamic expressions of space.  Through my work, I am confident I can widen and broaden the visual field, thereby revealing a whole new spectrum. 
 

Links – What is my motivation as an artist?

25 Reasons Why Being an Artist is the Best - JerryArtarama.com
The outcome of my work evokes a surprise and a revelation to me in much the same way as it does to the viewer.  The finished painting is never good enough.  In order to fill this gap, I have the motivated to make another piece of work.
 
Throughout my career, I have tested things out and applied my knowledge. What I learn I will share, from practical advice to techniques and any other information l think might be useful. I will be fighting in the trenches with you, explaining and demystify how an artist can support a creative life.
 

Understanding the ‘Oak Tree’ in conceptual art via Russian politics

Stuart Bush Studio Blog, Oak Tree, Conceptual art
©1973 Michael Craig Martin, An Oak Tree (1973) – All rights are reserved and are with the artist. 
 
Understanding the ‘Oak Tree’ in conceptual art via Russian politics
 
I have always had an intellectual curiosity about the principles and ideas behind conceptual art. In Michael Craig-Martin’s artwork, ‘Oak Tree’ (1973), I am interested in how he claims to transform a glass water into an ‘Oak Tree’?  How does the artist subvert people’s observations of the world?
 
I had fresh insight into understanding this artwork and mental concept after recently watching a film by Adam Curtis called, ‘How propaganda turned Russian politics into a circus.’ The documentary discusses and explains how Russian politics is using conceptual ideas from the art world to confuse people so that they are never sure what exactly is occurring.
 
Vladislav Surkov is an advisor to Vladimir Putin. Surkov was an aspiring artist who trained as a theatre director.  He has imported ideas from conceptual art into Russian politics and thereafter into Russian daily life.  

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This came to the attention of the UK after the Friday 2 March 2018 Salisbury attack.  Two men from the Russia military intelligence service, the GRU, entered the UK from Russia.  Police believe that the two men travelled during the weekend to Salisbury.  It is alleged that while they were there they contaminated the front door of the home of Sergei and Yulia Skripal. Sergei Skripal is a former Russian agent who has defected to the west. Sergei and Yulia Skripal were found collapsed on a bench in Salisbury.  They had been poisoned with a chemical weapon called Novichok.   Later DS Nick Bailey also fell ill after going to their home.
 
In Curtis’s film, he explains that the Kremlin is very calculating. They intended to create a sense of confusion and falseness where no one is able to find the truth. This is similar to the way the artwork, ‘An Oak Tree’ attempts to create uncertainty.
 

Further reading on understanding conceptual art

Marcel Duchamp 'Fountain' (1917)
The initiator moves the truth, like in the Salisbury attack and in the artwork, to wherever they want.  In the ‘Oak Tree’, Craig-Martin tells the viewer the glass of water on a glass shelf is an Oak Tree. In the Salisbury attack, Russia completely denies they had any involvement in the poisoning. However, officials in the UK are confident that the two Russian suspects were involved.
 
‘Gaslighting’ is the next stage of the process. This is a form of intimidation and psychological abuse where the offender denies everything, leading the victim to doubt their own perception of events.  The offender then responses like a school bully, telling everyone they are imagining things and laughing at them.  Then he draws attention to something else in order to undermine them. In this case, the Russian foreign Minister tweeted a funny video of the UK Prime Minister dancing.  In the ‘Oak Tree’ Craig-Martin draws attention to the mental conception through the questions and answers.
 

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A painting has to stand up by itself 
Last week the Russians released a film where the two suspects talk about their phoney interest in Salisbury’s history.  Their statement appears to come straight from Wikipedia. The Russians flatly deny any involvement. The outcome of this is that the UK officials to start to second guess their instincts. 
 
The whole Salisbury attack experience has given the UK and the world an insight into Russian daily life and the television they are allowed to view.  It shows to  Russian nationals who are thinking about defecting, that not only can the state find them anywhere in the world, but also that the state can leave traces back to Moscow.  If the state gets suspected or caught out they will then just laugh the problem away.
 

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How I see art contributing to society
Just like in Monty Python and the Holy Grail where the French taunt the English outside their castle.  The Russian state is saying that we know that you know we did it and we have come up with this absurd response to further humiliate you.  
 
Michael Craig-Martin said about an ‘Oak Tree’, “I was trying to work out what was the essence of a work of art. I thought it had to do with suspension of disbelief. You get it in theatre – why not in art?”
 
The Salisbury attack is very similar to the ‘Oak Tree’ (1973) artwork but with much more humiliation and an affront to the viewer.
 

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Michael Craig-Martin’s book, ‘On being an artist’ – book review

The art of being idle

The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
@Stuart Bush The inception of an unexpressed thought part 2, coloured pencil on paper 22 x 29cm
Congratulations! You have just started reading a blog post that encourages you to be idle in order to improve your creative work.  So relax, put your feet up and read on to find out how being idle can be turned into the art of being idle.
 
Benjamin Franklin, one of the founding fathers of the United States of America said, “It is the working man who is a happy man. It is the idle man who is the miserable man.” This quote reflects a common misunderstanding about the benefits of being busy versus the benefits of being idle. It is important to clear this problem up for us creative people.  
 
I am not denying working hard is needed to be able to achieve success in all fields of work.  It clearly does take quite a lot of hard work to be successful in almost every domain. However, over time I have come to realise that a key part in becoming a successful artist is by not making yourself so busy that deep work becomes impossible.  

Related reading to the art of being idle

Why being idle is good for you - The Telegraph
 
To resolve creative problems and break through with new ideas finding quality time in the studio is only part of a bigger picture.  Of course, if you’re not in the studio making new work regularly then you need to make some adjustments to your working week.  My main point here is that it is also it is important to have idle time in your week for reflection and contemplation.  If you haven’t already got this highly valuable time in your week it is advisable to make some adjustments too.
Stuart Bush Studio Blog, The art of being idle, an unexpressed thought, painters blog
©Stuart Bush The inception of an unexpressed thought part 4, coloured pencil on paper 22 x 29cm
The art of being idle explained
Creative ideas never come to me in a full and complete form. Often it feels like ideas are not moving forward and I often have to ponder on a problem to resolve a piece of work. A slow incubation of ideas forms in my subconscious.  Sometimes I try to resolve a problem through preparation drawings.  I might try sketching, using collage and playing with an open mind to help to move my ideas forward.  
 
At one time I use to sit and procrastinate but over time I have realised that when this happens I need to move on to something else and keep on working.  I don’t have time just to sit there waiting for an idea to resolve itself.
 
I have noticed my best ideas come when I am not directly thinking about the problem I am trying to resolve.  In effect my best ideas come when I am not busy but when l am idle.  I have discovered that creating a fine balance in my weekly schedule allows me time to be idle. 
 

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My subconscious works overtime during a good nights sleep. Then in the following days and weeks when I am carrying out a mundane activity: possibly in the shower, walking, driving or doing some household tasks when I’m not focusing on anything, in particular, my mind wanders, my focus starts to drift and I start day-dreaming.  It is in these moments that the answer pops into my head as if by magic an idea trickles through my subconscious as if from no-where.  
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 1, coloured pencil on paper 22 x 29cm
I do realise however that this creative idleness would not work if l didn’t know my craft well. If l didn’t have the skills l have acquired through practice. If l didn’t have the openness of mind to work through solutions and ideas. Then l would stumble and fail to reach a solution about developing my idea into a finished piece of work.
 

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During the time I am idle, my unconscious mind is always working. There is no disconnecting my artistic thoughts and problem-solving.  However, if I was busy all the time I believe the solutions wouldn’t surface in my mind.  I have also discovered that once the problem is resolved in my brain I can’t retrace the steps that go into creating that solution. 
 
In conclusion, the art of being idle feels like a mystery, like a journey into the unknown where the mind takes over and small thoughts and concepts bloom with a life of their own.  I hope this small explanation into the art of being idle helps you to resolve your own ideas by relaxing and letting your subconscious mind take over.
 
The art of being idle, Stuart Bush Studio Blog, painting blog, inception of an unexpressed thought
©Stuart Bush The inception of an unexpressed thought part 3, coloured pencil on paper 22 x 29cm

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Tomma Abts Serpentine exhibition review

Tomma Abts, Hebe, Stuart Bush Studio Blog, Tomma Abts Serpentine Exhibition review
Tomma Abts, Fiebe, 2017 Acrylic & oil on canvas 48 × 38 cm, 18 7/8” × 15” Courtesy Private Collection
Tomma Abts (1967) is a German-born painter who lives in London. In 2006 Tomma won the Turner Prize and has since gone on to exhibit in many institutions around the world.  In this Tomma Abts Serpentine exhibition review, I want to discuss her interesting static compositions and consider what I think the artist wants to say through the work.
 
Tomma Abts’s quiet and unique work could never be described as pretty.  Her strange visual illusions at first glance look like 1950s wallpaper.  Each painting contains zigzags, puzzles and twists on her trademark sized 48 x 38cm canvases. Tomma worked mainly on canvases of this size for the last 20 years, only recently introducing, different sized and shaped canvas. The title of her paintings were taken from a German dictionary of first names, Uphe, Zebe, Mehm, Veeke, Meko and Noeme.
Stuart Bush Studio Blog, Fimme, 2013 Tomma Abts Serpentine exhibition review
Tomma Abts, Installation view, Serpentine Sackler Gallery, London (7 June– 9 September 2018) © 2018 readsreads.info
Tomma was attracted to the Sackler gallery rather than the main Serpentine Gallery. She quickly realised that by leaving the powder rooms at the centre of the gallery empty with only the brickwork showing she could put her work in a sequence around the outside.   Laying out the paintings in a precise order enables her to control the sense of movement for the viewer; and links her work carefully to the architecture.  The positioning and lighting emphasises the relationships in each of her paintings between the contrast of the foreground and background.
 

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Tomma begins each painting without any preconceived ideas about what the picture will look like. The first task is to use a quick wash of acrylic paint to the canvas.  This is followed by an evolution of intuitive decisions in oil paint to create sculptural paintings that add depth to the two-dimensional surface.
Stuart Bush Studio Blog, Tomma Abts Serpentine exhibition review
Tomma Abts, Installation view, Serpentine Sackler Gallery, London (7 June– 9 September 2018) © 2018 readsreads.info
Tomma says, “not knowing what the outcome might be is what makes me want to start another painting.  I have no plans, sketches or preconceptions when I begin; it is just decision after decision – an ongoing process of putting something onto the canvas and then editing it, then putting something down and editing it again – and in that way slowly constructing something…The making itself leads the way. The image is the manifestation  of the process.”

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Peter Doig exhibition review
 
It is a common theme in painting that when an artist changes their mind about a previous decision they often feel compelled to hide that journey in the painted layers. There is a very long phase of searching and discovery, and trial error can be seen in each painting.  In overpainting, there are submerged shapes turning the painting into a record of compressed time and space in flux. Each painting has a life of its own and eventually arrives at a lyrical composition of colour and illusory space.  The obscured passages of rifts and forms are like previous states of mind hidden in the surface.
Stuart Bush Studio Blog, Tedo, 2002, Tomma Abts Serpentine Exhibition review
Tomma Abts, Installation view, Serpentine Sackler Gallery, London (7 June– 9 September 2018) © 2018 readsreads.info
The result is a painting that uses the way forms catch the light and shadows. Tomma says, “I can’t really say what it will look like or how it will finish or what will make it work.  It’s a different idea or moment for each painting.”  Each painting has a unique relationship and balance of colour and form. 
 

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Sarah Sze Exhibition review
There is no content, leaving you wondering what point Tomma is trying to make.  The paintings are a reflection of a process. The viewer skids across the surface, trying to get a grip but failing.  The emptiness of the paintings captivate the viewer and invite reams of commentary.
Stuart Bush Studio Blog, Tomma Abts Serpentine Exhibition review
Tomma Abts, Installation view, Serpentine Sackler Gallery, London (7 June– 9 September 2018) © 2018 readsreads.info
The whole exhibition feels like an artwork in itself.  My mind wondered into the thoughts of Corbusier utopian dreams for Paris.  The artworks around the outside of the gallery are like the suburbs in the peripheral areas of the city. The inner architecture, the brickwork of the powder rooms is like the working heart of the city.  The intuitive paintings, where one step leads to the next, come from Tomma’s inner architecture and soul.  The lines, forms and rhythms offer a kind of purity, with each painting having its own unique sensation.
Stuart Bush Studio Blog, Tomma Abts Serpentine exhibition review
Tomma Abts, Installation view, Serpentine Sackler Gallery, London (7 June– 9 September 2018) © 2018 readsreads.info

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How I see art contributing to society

Christo, The London Mastaba, Hyde Park 2018, Stuart Bush Studio Blog, painting blog
Christo, The London Mastaba, Hyde Park 2018
When I saw Christo’s new art project in Hyde Park London and read his quote, “A work of art is a scream of freedom,” I know I needed to tell you about how I see art contributing to society.
 
Every artist contributes to society in their own special way. Artists look to find ways to engage the wider pubic through their work to consider and reconsider the way they see the world. Whether it is contributing to overall health and wellbeing of our society by rethinking about what we are doing and considering in new approaches or by providing inspiration, interaction and joy to uplift the spirit.

Link to a review of Christo, The London Mastaba

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Being an artist for me is a licence to look deeply; to follow my curiosity, to unpick and to make new connections with what I see. We live on this small rock in a massive universe without an accurate understanding of what it is all about.  I perceive making art as a form of therapy to open up the world and open up people’s minds to a higher spectrum. To deal with and come to terms with everyday life.  
 
Stuart Bush Studio Blog, untitled sketch, in the city, How I see art contributing to society?
Stuart Bush, untitled sketch
“The first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.” Chuck Palahniuk, American novelist and journalist
 
To my eyes painting is the best way to communicate and connect with others within a collective effort. I am not trying to convey the world as I see it.  As an artist, I absorb it and try to communicate the world as it really is.
 
I have an intellectual curiosity and commitment to bring the truth to light. Through my art making, I want to be known for using my artistic creativity to widen and broaden the visual field.  Therefore, reveal a whole new range of potential meaning.
 
There are many benefits of living in an exciting contemporary culture. I see myself as part of a community whose work can make a significant contribution to society and the world today.  I want to contribute to human growth by joining into the conversation.   

 

 
“If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him.” John F Kennedy

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Jealousy of other artist’s work

Stuart Bush Studio Blog, Jealousy of other artist's work
Stuart Bush, Sanctuary exhibition
As we grow up, there is lots of pressure on us to fit into society. We sometimes look with envious eyes at what others have achieved. At school, it is intellectual abilities that seem to count and in the media popular attractive pin-ups stand out.  As we compare ourselves to others we can conclude that we are just not good enough. These thoughts can affect our ego and our spirit. If we withdraw we lose our footing, and then, when we try again, come up short. If we are not careful this can grow up into jealousy of other artist’s work and achievements.
 
When I was an art student I looked at a wide range of art. Enviability I was blown away by the work of successful artists.  I compared my skills, talent, ability, knowledge and my output against what other artists produced. I ended up continually watching what others were doing. The outcome was inevitable. These thoughts began to limit my ability to think creatively, and they became overwhelming. I started to feel I didn’t deserve to be an artist and it threatened my self-worth.

A way forward without being jealous of other artist’s work

To be a successful artist I needed to figure out a way to unlearn what was causing me harm. A way was to stop comparing myself to others. It was counterproductive feeling. I realised that there was no way I was able to make the same work as another artist, and I didn’t want to.
 
I realised that l should not be competing with other artists, I needed to run my own race. It’s my process and my path. My work isn’t going to look like other artists.  I am now fully aware that if I get distracted by looking at other artist’s outputs, I will lose my energy and focus. If l allow myself to become distracted then I will have to learn to refocus and listen to my inner voice again.

Links related to Jealousy of other artist’s work

Why You Should Stop Caring What Other People Think

I now give myself artistic permission to be myself and make what I want. It is important to be acknowledged for my individuality and I have different strengths to my peers. I look at what makes me unique, and push it forward in my work.

Now when I need inspiration, I look in lots of places. I may look at other artist’s work to learn their processes but I don’t compare my output with their output. Instead, I feed off the creative ideas, take what l want and develop my own perspective and viewpoint.  I avoid jealousy of other artist’s work because my own ideas are developing and growing.

Stuart Bush Studio Blog, Jealousy of other artists's work
Stuart Bush, Sanctuary exhibition

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The benefits of adversity

 

Increasing learning in the studio

When it is advisable to be wrong, increasing learning in the studio, Stuart Bush Studio Blog
©Stuart Bush, When it is advisable to be wrong 2016 oil on board 45.7 x 60.1 cm
A group of scientists recently looked into the most effective ways of learning. They suggested that long sessions and all-nighters don’t give us the best opportunity to learn.  After reading about this 12 months ago, I changed my weekly studio calendar.  I found from a simple change, there are advantages for developing your artistic practice and increasing learning in the studio.  I now visit my studio multiple times in a week and do 2-3 hours, I not only achieve more, I also learn more.  
 

Related link to; ‘increasing your learning in the studio’

Youtube Video: Spaced repetition in learning theory
 
This is because our minds store information in many different places in our brains.  This process strengthens the connections in our brain. With regularly spaced repetition we can make the most out of the way our minds work and achieve better retention of skills and knowledge.
 
 
It is mainly down to the frequency and the spacing of the intervals.  So rather than visiting the studio once a week, try many shorter visits while repeating creative tasks.  When you come and go you strengthened your knowledge. In the absence, your mind subconsciously works to resolve issues in your work. Ideas and solutions pop up when your away from the studio.  
 
The moments in the artist’s studio are under our control.  Anything that happens to your work outside the studio after it is made is out of your control.   While opportunities to show your work are extra special they not supposed to be the reason for making the artwork. The reason why I am an artist and why I work on my artistic practice is focused on learning and advancing in the studio. By making something purposeful, I am feeding and enhancing my life’s work.  I hope this piece of advice helps improvement at a faster pace. Afterall, the journey is the goal.
 
Stuart Bush Studio Blog, increasing learning in the studio, when it is advisable to be wrong
Stuart Bush, When it is advisable to be wrong, work in progress
 

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I wish I could paint every day

Review of ‘All too human, Bacon, Freud and a century of painting life’ Tate Britain

 
Stanley Spencer, All too human, Stuart Bush Studio Blog
Stanley Spencer, 1891-1959 Patricia Preece 1933 Oil paint on canvas 839 x 736mm Southampton City Art Gallery, Hampshire © The Estate of Stanley Spencer/Bridgeman Images
‘All too human, Bacon, Freud and a century of painting life’ at Tate Britain, begins by following British painting after the Second World War. At this time in our history rumours about what had happened during the Holocaust were trickling into the media. During this period many books and essays were written as people tried to come to terms with what had taken place. This experience encouraged intellectuals to look inwards and ask hard questions about the purpose of human existence. 
 
It was complexing to hear about the atrocities and then to consider how humans could behave in such a way. The central theme of this exhibition looked at what British representational painting achieved during this period. Artists including Francis Bacon, Lucian Freud, Stanley Spencer, Alberto Giacometti, Frank Auerbach, Leon Kossoff, R. B. Kitaj and David Bomberg amongst others explored whether painting life as it is had any answers. They took on the battle through the depiction of the figure, the flesh and the surrounding. The painters were asking, how after this experience, could art depict man with any conviction.  
 
Francis Bacon, All too human, Stuart Bush Studio Blog
Francis Bacon, 1909-1992 Portrait, 1962, Oil paint on canvas, 1980 x 1415 mm, Museum für Gegenwartskunst Siegen. The Lambrecht-Schadeberg Collection/Winners of the Rubens Prize of the City of Siegen © The Estate of Francis Bacon. All rights reserved. DACS, London.
The lead curator Elena Crippa, and assistant curator Laura Castagnini from Tate Britain, laid out the show in chronological order. The hanging of the show highlights how the artists were influencing each other. The relationships and rivalries between teachers, mentors and friendships runs throughout this exhibition. The whole show contains approximately 100 works tracing the startling impact of this shocking time and the coming effect on following generations.
 

Related review to All too human

Picasso paints what he knows rather than what he see
 
In the first room, I was drawn to the works of  David Bomberg and Stanley Spencer. David Bomberg painted the rugged landscape of worn-torn cities capturing the light on structure and scenery. With his speciality handling of paint he tries to get a grip on the subject, simplifying what he saw. He records memories and emotional states in almost abstract shapes. Meanwhile there is forcefulness of the work of Spencer.  He paints a representation of the life, of a person in the flesh. The direct and honest painting opens up the sitter to the viewer. The painting becomes about looking more deeply at the painting itself and the process of applying it. 
 
Lucian Freud, All too human, Stuart Bush Studio Blog
Lucian Freud, 1922-2011
Girl with a White Dog 1950-1
Oil paint on canvas 762 x 1016 mm © Tate
Freud, ‘In Girl with White Dog by Lucian Freud’, 1950-1 sees life for the mystery it is. Freud highlights the estrangement and coldness of the body. He once said, ‘I want the paint to work as flesh does.’ It indeed does that under his intense observation. The romance is undoubtedly removed, and there is a feeling of distress in the compelling moment of the life of his sitter.
 
Frank Auerbach, All too human, Stuart Bush Studio Blog
Frank Auerbach, born 1931 Head of Jake 1997 Oil paint on board 613 x 508 mm Private Collection © Frank Auerbach, courtesy Marlborough Fine Art
In Frank Auerbach’s painting, ‘Head of Jake,’ 1997 Auerbach tries to find a new way to depict life and capture the horrifying experience. He uses shapes and colours as symbolism to show what he saw. He created a vibrant, profound visual language that extends beyond the outer appearance. There is deep emotional charge in thick impasto style penetrating loss and depths of physical structures into evidence of the forgotten moments.
 
Francis Bacon, All too human, Stuart Bush Studio Blog
Francis Bacon, 1909-1992 Study for Portrait of Lucian Freud
1964 Oil paint on canvas 1980 x 1476 mm The Lewis Collection
© The Estate of Francis Bacon. All rights reserved. DACS, London
Photo: Prudence Cuming Associates Ltd.
A lot of the work in this exhibition is influenced by the existentialist view that we live to suffer. Francis Bacon’s ‘Study for Portrait of Lucian Freud,’ 1964 depicts going beyond surviving and suffering through painting. Bacon sees art as “about trying to make something out of the chaos of existence.” He looks into the human condition like we are carcasses. He focuses on our alienation and disorientation of the visible world to stir emotions and tell the truth about the darkness of human characteristics.

Related reviews to All too human

Hodgkin says goodbye to absent friends - Howard Hodgkin exhibition review at the National Portrait Gallery in London
 
At the end of the exhibition after seeing many great revealing and fascinating works of art, I felt I had learnt something about our purpose as humans in this world. For me, this exhibition highlights our existence while words can only fail to define it. When words are used to try and explain the physical experience they often come up short. Painting and art, in general, adds to our understanding in a substantial and meaningful way. Any outcome to these big questions without art is missing a truly more profound understanding. 
 
Celia Brown, All too human, Stuart Bush Studio Blog
Cecily Brown, born 1969 Boy with a Cat 2015 Oil, pastel on linen 1092 x 1651 mm Collection of Danny and Lisa Goldberg © Cecily Brown Photo: Richard Ivey
The show concludes with a Lynette Yiadom-Boakye painting, ‘The Host Over a Barrel’ 2014 and Celia Paul ‘Painter and Model,’ 2012. Yiadom-Boakye invites the viewer to construct their own view of what she sees and ask questions about what painting is. While Paul’s meditative self-portrait captures herself as an artist contemplating and scrutinising her own form and presence as a painter of life.
 
I thoroughly enjoyed what this exhibition says about the human experience. This exhibition to me says yes to life. It questions life’s purpose and is like going into therapy. I would be interesting to know what the impact would be on an individual who has lost his way in life and whether they would say yes to life after visiting the show.
 

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