Craig Kerrecoe AMInstLM Interview
Profile
Biography
Gallery
Copyright of images belongs to the Artist.
Copyright of interview belongs to Ovenden
Contemporary (Art Promotions) Limited. Any
un-authorised use is strictly prohibited. All
rights are reserved.
(c) 2006 Ovenden Contemporary (Art Promotions)
Limited
OC: Your technique is a little unusual. Tell us
how you would 'paint' a piece for 'The
Code'.
CK: Well, it's not so much painting as 'scraping'. I apply acrylics to my canvas or board and scrape it across using ordinary DIY wallpaper scrapers from B&Q. I sometimes use emulsions as a base colour but slightly gelatinous acrylics are much better because they put up a bit of resistance to the scraping motion and create those fantastic, unpredictable shapes. I don't feel comfortable using brushes, unless I'm highlighting texture or something.
OC: You don't use oils?
CK: No. I don't have the patience. I'm a typical man I suppose, I need to see instant results! I can't wait three months for anything to dry.
OC: You have been experimenting with decoupage techniques on your 'Black Box Project'. What prompted you to modify your technique?
CK: It's always good to challenge yourself, to step outside your comfort zone every now and then. I started experimenting with decoupage a while ago because I had developed a small catalogue of digitally edited images. I didn't really know what to do with them. It didn't seem enough to just leave them on my iMac. I wanted to do something with them so it just kind of happened. I think that all Artists have to allow themselves to develop and consider new techniques. You have to push yourself sometimes. I'm really happy with the way that the decoupage has worked for me. I wouldn't have the 'Black Box Project' if I hadn't struggled to find a way of using my digital work.
OC: Do you think this is a permanent step for you?
CK: It's certainly going to remain a part of what I do. I enjoy doing it. I enjoy the process of digital modification, correcting and editing photography. Then the process of transplanting or superimposing digital work onto something quite obviously 'old school' like a box canvas is great. I like the contradiction. I'll keep experimenting though. I think that 'Black Box' has reached a stage where it needs a good deal of development now. It wants to become a three dimensional entity. I have to spend some time figuring out how to enable that to happen. I think there's enough continuity in the subject matter I work with that I can play around with technique and presentation without making my portfolio too disparate.
OC: Is continuity important to you?
CK: There should always be a journey involved. I think that it's important to know where you started, where you are currently and where you are trying to get to. You need to have that sense of 'place' in order to understand how you are going to grow.
OC: Are any of your friends Artists?
CK: My sister-in-law, Willow Cairn, is an Artist and I have an old friend who is a very talented Writer. In the last year or so I have started to get to know several other Artists and would definitely call many of them friends now. So, yes. It's been a really positive experience getting to know other Artists because I felt quite isolated at times, in the beginning. It's really important to form networks and connections if you are going to exist in the art industry for any length of time.
OC: Is that a tip? Do you have any others?
CK: I have lots of tips but I'm saving them for my first book!! No, I'm not really. But it is really important to interact with other people in the industry, other Artists, Gallery owners, Development Officers, buyers & collectors, anybody you can get your hands on. You really need a point of reference, a way of obtaining worthwhile feedback or validation. You need support too which can come from various different sources but there are lots of organisations within this industry that can provide support. Get out there and make connections. Take part. You'll wait a long time for Charles Saatchi to stumble in to your Studio and discover you if you haven't made the effort to share your work with the world in the first place.
OC: Thanks Craig.
(June 2006)
CK: Well, it's not so much painting as 'scraping'. I apply acrylics to my canvas or board and scrape it across using ordinary DIY wallpaper scrapers from B&Q. I sometimes use emulsions as a base colour but slightly gelatinous acrylics are much better because they put up a bit of resistance to the scraping motion and create those fantastic, unpredictable shapes. I don't feel comfortable using brushes, unless I'm highlighting texture or something.
OC: You don't use oils?
CK: No. I don't have the patience. I'm a typical man I suppose, I need to see instant results! I can't wait three months for anything to dry.
OC: You have been experimenting with decoupage techniques on your 'Black Box Project'. What prompted you to modify your technique?
CK: It's always good to challenge yourself, to step outside your comfort zone every now and then. I started experimenting with decoupage a while ago because I had developed a small catalogue of digitally edited images. I didn't really know what to do with them. It didn't seem enough to just leave them on my iMac. I wanted to do something with them so it just kind of happened. I think that all Artists have to allow themselves to develop and consider new techniques. You have to push yourself sometimes. I'm really happy with the way that the decoupage has worked for me. I wouldn't have the 'Black Box Project' if I hadn't struggled to find a way of using my digital work.
OC: Do you think this is a permanent step for you?
CK: It's certainly going to remain a part of what I do. I enjoy doing it. I enjoy the process of digital modification, correcting and editing photography. Then the process of transplanting or superimposing digital work onto something quite obviously 'old school' like a box canvas is great. I like the contradiction. I'll keep experimenting though. I think that 'Black Box' has reached a stage where it needs a good deal of development now. It wants to become a three dimensional entity. I have to spend some time figuring out how to enable that to happen. I think there's enough continuity in the subject matter I work with that I can play around with technique and presentation without making my portfolio too disparate.
OC: Is continuity important to you?
CK: There should always be a journey involved. I think that it's important to know where you started, where you are currently and where you are trying to get to. You need to have that sense of 'place' in order to understand how you are going to grow.
OC: Are any of your friends Artists?
CK: My sister-in-law, Willow Cairn, is an Artist and I have an old friend who is a very talented Writer. In the last year or so I have started to get to know several other Artists and would definitely call many of them friends now. So, yes. It's been a really positive experience getting to know other Artists because I felt quite isolated at times, in the beginning. It's really important to form networks and connections if you are going to exist in the art industry for any length of time.
OC: Is that a tip? Do you have any others?
CK: I have lots of tips but I'm saving them for my first book!! No, I'm not really. But it is really important to interact with other people in the industry, other Artists, Gallery owners, Development Officers, buyers & collectors, anybody you can get your hands on. You really need a point of reference, a way of obtaining worthwhile feedback or validation. You need support too which can come from various different sources but there are lots of organisations within this industry that can provide support. Get out there and make connections. Take part. You'll wait a long time for Charles Saatchi to stumble in to your Studio and discover you if you haven't made the effort to share your work with the world in the first place.
OC: Thanks Craig.
(June 2006)
Continued...
