What do I feel when I make painting? Well it’s a kind of intriguing question, what does one feel?
You feel so many things. One thing I think I can say, and underline, is that what you tend not to feel is emotion, or emotion that you are aware of. I think it’s a kind of labour and so what you’re doing is you’re… you’re involved in laying down of a kind of craft, which is interesting isn’t it?
I mean I’m sure some people feel so emotional they are kind of dancing up and down having a great time screaming and crying. It’s not for me. It takes such a long time to find your language, it’s taken me a long time, and I still think I’m finding it, but I know that I’m closer to a language which is coherent and recognisably mine, but I’ve made many many mistakes along the way.
It’s been quite a struggle. I do feel that when you look at a painting the first thing that you must see is the painting itself and then the image later, and if that happens then the painting is halfway to working.
Michael Simpson: Odyssey of a Painter
Louisiana Museum of Modern Art. 2016
TURPS PAINTING MAGAZINE ISSUE 16
26th January 2018
Katie Pratt in Conversation with Jonathan Lasker
How Can We Think About Abstract Painting? Pt.2 by Simon Bill
Ian Davenport in Conversation with Clem Crosby
Fifteen Things to Know About American Painter Marlon Mullen by Tim Buckwalter
Philip Booth in Conversation with George Shaw
Picture Dealing. Jo Persona, everyday content provider
Slipping Into a Glimpse by Suzanne Holtom
In Conversation Shani Rhys James and Iwan Bala
In Conversation Ali Banisadr and Marius Bercea*
Katrina Blannin in Conversation with Vanessa Jackson
Simon Gales A Rush Hour Conversation with Turps Banana
Correction: Due to a proofing error the first two questions in the conversation between Ali Banisadr and Marius Bercea were wrongly attributed. We apologise to both of the artists for the error and the corrected text appears here.