OC: Speaking of growth, an important quality that
OC looks for in a body of work, when considering
an Artist for participation, is a sense of
journey. An Artist needs to know where they came
from, where they are now and where they are
trying to get to. What journey is Jeremy Mayes
on?
JM: I suppose, for me, each painting in itself is a microcosm of a larger journey. I enjoy painting spontaneously, evolving through each mini-journey and letting it take me where I wasn't expecting to go. This keeps the creative process intriguing and enjoyable. As far as the 'big picture' is concerned, I think that I am growing through personal experience. I like to challenge 'accepted' reality and my work has begun to suggest alternative visual and psychological aspects of everyday subjects like trees, buildings & people. I'm sure this will continue to inspire the substance of my work, although where it takes me creatively, I couldn't say.
OC: So, you are saying with your painting, things aren't always what they seem? Does that mean that your style has the potential to be much darker than it appears?
JM: Not so much a dark quality as a deeper meaning...although, I've always had a penchant for gothic horror, kafka-esque atmosphere, such as Terry Gilliam's 'Brazil', and have a deep respect for the elemental power of nature. Maybe I'm saying "Isn't life a rich and colourful trip?" But if you look & listen a little harder, there is infinitely more going on, some of it dark and threatening, much of it simply amazing and mysterious. Perhaps the 'shadows' in my paintings suggest this theme subconsciously? It's definitely something that's evolving in my work.
OC: How long have you been painting?
JM: There's a photo of me at Sunday School at the age of 4, published in a local paper. I appear to be thoroughly absorbed by a painting I am doing - paint brush in one hand, smears all over my face....very similar to how I am at 38 actually. So I can officially say, since the age of 4!
JM: I suppose, for me, each painting in itself is a microcosm of a larger journey. I enjoy painting spontaneously, evolving through each mini-journey and letting it take me where I wasn't expecting to go. This keeps the creative process intriguing and enjoyable. As far as the 'big picture' is concerned, I think that I am growing through personal experience. I like to challenge 'accepted' reality and my work has begun to suggest alternative visual and psychological aspects of everyday subjects like trees, buildings & people. I'm sure this will continue to inspire the substance of my work, although where it takes me creatively, I couldn't say.
OC: So, you are saying with your painting, things aren't always what they seem? Does that mean that your style has the potential to be much darker than it appears?
JM: Not so much a dark quality as a deeper meaning...although, I've always had a penchant for gothic horror, kafka-esque atmosphere, such as Terry Gilliam's 'Brazil', and have a deep respect for the elemental power of nature. Maybe I'm saying "Isn't life a rich and colourful trip?" But if you look & listen a little harder, there is infinitely more going on, some of it dark and threatening, much of it simply amazing and mysterious. Perhaps the 'shadows' in my paintings suggest this theme subconsciously? It's definitely something that's evolving in my work.
OC: How long have you been painting?
JM: There's a photo of me at Sunday School at the age of 4, published in a local paper. I appear to be thoroughly absorbed by a painting I am doing - paint brush in one hand, smears all over my face....very similar to how I am at 38 actually. So I can officially say, since the age of 4!
Jeremy Mayes 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: Hello Jeremy, and welcome to Ovenden
Contemporary. You have a very interesting work
history! You were a Resident Hotel Pianist for a
while. Did you have a 'Fabulous Baker Boy'
period?
JM: Well, I did have to wear a tuxedo and a dickie bow, so I guess I did look the part. But, sadly, I never had Michelle Pfeiffer, or anyone resembling her, sprawled seductively on my piano! In fact the average age of my audience was around 78, when there was anyone actually in the hotel restaurant that is! It's probably a good thing Michelle Pfeiffer wasn't there, my concentration would have wavered and I'd have sounded like Les Dawson.
JM: Well, I did have to wear a tuxedo and a dickie bow, so I guess I did look the part. But, sadly, I never had Michelle Pfeiffer, or anyone resembling her, sprawled seductively on my piano! In fact the average age of my audience was around 78, when there was anyone actually in the hotel restaurant that is! It's probably a good thing Michelle Pfeiffer wasn't there, my concentration would have wavered and I'd have sounded like Les Dawson.
OC: You have aspirations of becoming a film
maker. Were you dreaming of being an Artist or a
film maker as you tickled the ivories in front of
all those elderly Hotel
guests?
JM: I think, mainly, I was dreaming of getting to the bar before closing. But otherwise, I'd have to say that, although I love art and the idea of being a fully fledged Artist, making a movie is a bug I've had since the age of 8. It won't go away. And the first chance I get to make an amateur film that comes my way, I will grab it.
OC: Isn't there some chance you might combine the two at some point and make an 'art film', or 'film art' for that matter? Do you see the two elements as separate?
JM: If you mean 'film art' as an installation or video piece, probably not. I would want my little movie shown at a cinema in the traditional manner. I'm old fashioned in some respects! Regarding 'art films' I love the work of the French new wave back in the forties and fifties. They essentially re-wrote the book on film language. Also, the innovative framing of subjects and challenging narrative structure of Orson Welles, Peter Greenaway and Nicolas Roeg appeal. I think the overall composition of some of my work is inspired partly by cinematography.
"Rather than following a narrative drive where certain emotions are expected from a Writer or a Director of a piece of film, art should, perhaps, deliver instant emotional endearment, or even repulsion!"
OC: Peter Greenaway trained as a mural painter before becoming a film-maker and Roeg is known for the depth of atmosphere he creates and for photographing his stories in a disjunctive, semi-coherent way, leaving crucial pieces of information to the last scenes. Roeg is credited for having influenced filmmakers such as Ridley Scott, himself famous for astonishingly elaborate scene creation. Are you creating scenes Jeremy? Is there a screenplay behind all of your paintings?
JM: More like a single memorable scene in a film. The viewer can decide for themselves what came before and what will happen after. I think art differs in this way from the film process- rather than following a narrative drive where certain emotions are expected from the Writer or Director, art should, perhaps, deliver instant emotional endearment, or even repulsion! I think in most contemporary art this 'emotional impact' can be up to the individual. It's a much more personal experience than film, anyway.
OC: So, are you disappointed when you get negative feedback on the 'emotional impact' of your work? Have you ever had negative feedback?
JM: I suppose negative feedback is a form of emotional response. Besides, painting or sculpture can be, I feel, quite selfish in the way it's such a personal journey. If people like or respond to something on an emotional level, that's great. If they don't, that's fine also, because it's not their journey. I suppose negative feedback can, as in life, help you grow.
JM: I think, mainly, I was dreaming of getting to the bar before closing. But otherwise, I'd have to say that, although I love art and the idea of being a fully fledged Artist, making a movie is a bug I've had since the age of 8. It won't go away. And the first chance I get to make an amateur film that comes my way, I will grab it.
OC: Isn't there some chance you might combine the two at some point and make an 'art film', or 'film art' for that matter? Do you see the two elements as separate?
JM: If you mean 'film art' as an installation or video piece, probably not. I would want my little movie shown at a cinema in the traditional manner. I'm old fashioned in some respects! Regarding 'art films' I love the work of the French new wave back in the forties and fifties. They essentially re-wrote the book on film language. Also, the innovative framing of subjects and challenging narrative structure of Orson Welles, Peter Greenaway and Nicolas Roeg appeal. I think the overall composition of some of my work is inspired partly by cinematography.
"Rather than following a narrative drive where certain emotions are expected from a Writer or a Director of a piece of film, art should, perhaps, deliver instant emotional endearment, or even repulsion!"
OC: Peter Greenaway trained as a mural painter before becoming a film-maker and Roeg is known for the depth of atmosphere he creates and for photographing his stories in a disjunctive, semi-coherent way, leaving crucial pieces of information to the last scenes. Roeg is credited for having influenced filmmakers such as Ridley Scott, himself famous for astonishingly elaborate scene creation. Are you creating scenes Jeremy? Is there a screenplay behind all of your paintings?
JM: More like a single memorable scene in a film. The viewer can decide for themselves what came before and what will happen after. I think art differs in this way from the film process- rather than following a narrative drive where certain emotions are expected from the Writer or Director, art should, perhaps, deliver instant emotional endearment, or even repulsion! I think in most contemporary art this 'emotional impact' can be up to the individual. It's a much more personal experience than film, anyway.
OC: So, are you disappointed when you get negative feedback on the 'emotional impact' of your work? Have you ever had negative feedback?
JM: I suppose negative feedback is a form of emotional response. Besides, painting or sculpture can be, I feel, quite selfish in the way it's such a personal journey. If people like or respond to something on an emotional level, that's great. If they don't, that's fine also, because it's not their journey. I suppose negative feedback can, as in life, help you grow.
"I like to challenge 'accepted' reality and my work has begun to suggest alternative visual and psychological aspects of everyday subjects like trees, buildings & people."
OC: Sorry for pointing this out, but that's a third of a century! Do you regret that you have not, for whatever reason, been able to sustain a viable career from your painting, so far at least?
JM: Yes. It hurts! I think about it often, to be honest. There are two major things that keep me believing I'm going to make it. The first is that I seem to be receiving interest in what I do from people in the industry, such as Ovenden Contemporary, which is important. Secondly, I have a certain belief in myself as a creative voice. I think I've got something interesting to say, aesthetically and emotionally. Oh, there is a third thing that keeps me going, which is the very negative experience I've had working in '9 to 5' office environments. That only adds fuel to my fire! Working for myself is something I need to do.
OC: To keep yourself going, you have spent some time working on commissions for private buyers. How has that experience been?
JM: Most of my time used to be taken up producing watercolour animal portraits, either for sale on eBay, or via commissions. I can't tell you how many hours I've spent perfecting canine eyes- what a learning curve?! As for commissions for my contemporary work, I'm still awaiting my first, although enquiries are starting to come in at last!
OC: Well Jeremy, with your wonderful portfolio, we don't expect that you'll ever have worry about playing Piano for hotel guests again. Thank you for an enjoyable interview.
(July 2006)
