I used to use these colours in big pastels but a recent trip to France and the ochre mines got me back into thinking about colour. The intensity of colour in the land around Roussilon and the shop selling pigments, pots and pots of beautiful colour all lined up, delicious.
I returned home and forgot about my trip and then was tidying up and found my old pastels; the intensity of the colour was there again.
I love muted tones and mostly work in monochrome but it is exciting using these vibrant colours again, now they are not pastels but oil and at some point I hope they will appear in my sculpture also.
What has been your proudest working moment so far?
It is usually about sculptures I have made rather than the achievements of those sculptures to get to certain places. My ambition is within the greatness of the achievement within the piece rather than the position it has raised the artist to.
A good feeling is to make a painting or sculpture and then after, when all the worry, indecision’s and insecurities have gone, when you become slightly detached from it through time you wonder how you did it and worry terribly that you could never do it again. But usually I am very critical of past work and therefore satisfaction is limited.
What is the most important thing you like to express with your art?
The most important thing with my art is honesty, sometimes I can be too cheesey or potentially naff, I worry I don’t hide my personal feelings enough and can be a bit blatant but I always use the excuse that I am being true to how I feel, its just me. It is what it is.
If you are not honest there is absolutely no point.
What is important for me in my work is that it has to have come from me. Honestly and directly. There is no room to try and be clever or original, to try and fit in with a world that does not belong to me. I constantly worry about my work, that it is too literal or potentially cheesy but when I am making it; it is how I feel. The subject matters to me are very real, very present.
Hopefully the work does have its own complexities and can be interpreted or received on different levels and I love it that people see what they want to see in the work, recognise themselves; but above all, what matters to me is that it has to come from the gut as well as the head.
This piece is called Valentine. Trying to symbolize the intense love between two people and having found that absolutely perfect partner, the constant paranoia of separation.
Having spent hours and hours drawing and looking so far this year, the form appeared over one session. I came back to it the next day and worked on it now and again over a period of a week. Once I think I am making marks that are not about the desperate attempt to describe the form or idea, then the work has a danger of becoming contrived; the subconscious workings and honesty would be lost. The time between saying what you want to say to finishing is crucial and the fussing of insecurity is hopefully kept to a minimum. Hopefully short.
More pics here http://www.carolpeace.com/work/valentine
During a lot of building works near my studio, I was unable to concentrate because of the noise so retreated to my garden where I think the company of the birds around crept into my psyche, that night I had a dream that I had a dead robin in my hand and I put a little blanket on it to try and keep it warm.
Opposite our flat is a church and in my dream I went round the back of the church, only to see lots of protesters coming back from a big march with “save the robin” on big placards. Anyway I am not sure whether it was the power of their demonstration or the power of god, the little robin came alive and I woke up.
Who knows what was really going on in my head but I guess it could be to do with global warming and the robin being a symbol of nature. The robin being known as the ‘gardeners friend’ and very typically British, if the robin is in danger we are in more trouble than we thought. It could also be just me getting over a few broken dreams.