{"id":1292891,"date":"2017-06-08T06:00:21","date_gmt":"2017-06-08T05:00:21","guid":{"rendered":"https:\/\/www.jacksonsart.com\/blog\/?p=1292891"},"modified":"2017-06-20T12:13:05","modified_gmt":"2017-06-20T11:13:05","slug":"interview-figurative-painter-carl-chapple","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2017\/06\/08\/interview-figurative-painter-carl-chapple\/","title":{"rendered":"An Interview with Figurative Painter Carl Chapple"},"content":{"rendered":"
‘Lila 9’\u00a0by Carl Chapple\u00a0was shortlisted for this year’s Jackson’s Open Painting Prize. The\u00a0painting depicts a young girl, balancing on the edge of a block on one foot with the other held by a long strip of fabric seemingly attached by both ends to the ceiling. The pose is full of physical\u00a0tension and balance, while Lila’s face is imbued with curiosity and open eyed wonder, gazing out into the distance. Rendered in cool greys, greens and blues, the brush work is considered and sensitive. ‘Lila 9’ is one of a large number of paintings that Carl Chapple has made of figures in striking poses within an empty white space. His most recent projects have included painting the dancers of Ballet Cymru. Far from being mere figure studies, the paintings are emotionally charged as a result of the physical tension and facial expressions that are depicted. They are a celebration of the potential that dance has to communicate the raw emotional states of humankind. I wanted to find out more about Carl Chapple’s working methods.<\/h5>\n
\"'Nation<\/a>
‘Nation of Two (Allegra Vianello and Andrea Battaggia)’
Carl Chapple
Oil on canvas, 101cm x 76cm, 2016<\/figcaption><\/figure>\n
\n

Lisa: You often paint performers – dancers, comedians, actors… What do you hope to unveil through painting these subjects?<\/strong><\/p>\n

Carl: My hopes when painting performers are similar to those with other portrait subjects – essentially to capture a likeness, and to reflect something of the personality and ideas of the sitter. This can get a little ambiguous in cases where a comedian, for example, has an established stage persona, but the opportunity to present what may be a less familiar side to someone\u2019s character can be very interesting.<\/em><\/p>\n

For the last couple of years I\u2019ve been working with dancers, and the paintings and drawings I\u2019ve made with them are a little different from those of other performers I\u2019ve worked with. For example, I consider my pictures of Ballet Cymru dancers in rehearsal to be portraits, though the subjects are not posing for me, and may in that moment be absorbed in playing a character. They\u2019re portraits of dancers at work, and to that extent are also studies of creative processes and expression, which is a fascinating subject, I think.<\/em><\/p>\n

\"'Gwenllian<\/a>
‘Gwenllian Davies and Krystal Lowe 9’
Carl Chapple
Oil on panel, 18cm x 23cm, 2017<\/figcaption><\/figure>\n
\n

Working with dancers in the painting studio is different again, in that we experiment and find poses through improvisation, so there\u2019s a great deal more collaboration and sharing of ideas going on. In the studio I\u2019m interested to find compositions which imply a narrative or suggest emotions or relationships, but what we find always comes from the dancers themselves, so is expressive of their personalities and creativity too. It\u2019s figure painting, but it\u2019s also portraiture.<\/em><\/p>\n

The passion, creativity and extraordinary physical discipline of the dancers I\u2019ve worked with is hugely inspiring, and I love how these partnerships explore a crossover between performance and visual arts, to create something new.<\/em><\/p>\n

\"'Gwenllian<\/a>
‘Gwenllian Davies and Krystal Lowe 12’
Carl Chapple
Oil on canvas,120cm x 120cm, 2017<\/figcaption><\/figure>\n
\n

Lisa: You mention that you have been painting Lila, the subject of your shortlisted painting, for a number of years. How important is familiarity with your subject for your work and can you describe what it\u2019s like to paint the same person at various intervals over the course of 6 years?<\/strong><\/p>\n

Carl: I find it really interesting. When I first painted Lila she was three years old and couldn\u2019t sit still for more than a few seconds at a time. Just as she\u2019d settled into position, she\u2019d climb down off the chair, and the table it was sitting\u00a0 on, and come behind the easel to see how the picture was progressing. That was nine years ago, and now she and her sister, Miranda, are rather better at holding poses, and brilliant at coming up with them (the pose in Lila 9, which I find beautifully expressive, was Lila\u2019s idea). It\u2019s been great to have this kind of unplanned series of pictures going\u00a0 back to when they were little, and hopefully they won\u2019t lose interest too soon, so I\u2019ll be able to keep going.<\/em><\/p>\n

Similarly, years ago, when I painted nudes I liked working with a small pool of models, developing working practices, mutual understanding and so on, as time passed. Last year, one of my former life models, Laura, posed for a portrait after an eight-year gap, and we immediately resumed our previous routine. All that had changed was the backdrop to the crazy stories she told me during the breaks. It was great.<\/em><\/p>\n

\"\"<\/a>
‘Laura 28
Oil on canvas
60cm x 30cm
2008<\/figcaption><\/figure>\n
\n

Lisa: When did you first decide that you wanted to be a painter and what is it about painting that you love?<\/strong><\/p>\n

Carl: I realised I wanted to be a painter during my art foundation at Oxford Polytechnic in 1987. <\/em><\/p>\n

Up until then I\u2019d always been very interested in fine art, but had spent the previous year working as a graphic artist (of sorts) at a print shop, and imagined I\u2019d focus on that as a possible career. Then, in the first term of the foundation course, I was introduced both to life drawing and oil paint, and was so excited by both that I pretty much immediately changed my plans.<\/em><\/p>\n

The model was called Sonia, and I still have my drawings of her. She was in her fifties, and said she was now being drawn by the children of students she\u2019d sat for when she started out. If Sonia\u2019s still going, she\u2019ll be on to their grandchildren by now.<\/em><\/p>\n

I have fairly ambivalent feelings about painting and drawing, though one of the things I love about the art form is its directness – that there are no intermediaries between you and the canvas. As the artist you are responsible for every decision and every mark which forms the final piece, and its success or failure rests only with you. <\/em><\/p>\n

Also, I love that figure and portrait painters are working in traditions which go back centuries, and, in many respects, considerably further; that a painter from fifty or a hundred or five hundred years ago could walk into my studio and recognise practically all the materials and tools they see, and that I can look at their work in museums and galleries today, and connect to them, take inspiration, and perhaps learn from their methods and ideas. <\/em><\/p>\n

There\u2019s something quite reassuring about that. Painting can be a solitary business, but there\u2019s a kind of companionship in tradition.<\/em><\/p>\n

\"'Lisa<\/a>
‘Lisa Heledd Jones’
Carl Chapple
Oil on canvas, 45cm x 50cm, 2016<\/figcaption><\/figure>\n
\n

Lisa: How important is it that the sitters for your work like the paintings that you make of them?<\/strong><\/p>\n

Carl: It\u2019s not my first consideration, though positive feedback from sitters is always gratifying – as it is from sitters\u2019 partners, parents, and so on, who are perhaps best placed to comment on the success or otherwise of a portrait. <\/em><\/p>\n

I try to involve sitters as much as possible in the planning and creation of my work, and if a portrait is commissioned, it is of course very important that they are happy with the finished piece. I\u2019m always very interested to hear sitters\u2019 thoughts, and to learn as much as I can from them.<\/em><\/p>\n

\"'Anna<\/a>
‘Anna Pujol and Andrea Battaggia 5’
Carl Chapple
Oil on canvas, 46cm x 61cm, 2017<\/figcaption><\/figure>\n
\n

Lisa: What do you consider to be the ingredients for a strong composition?<\/strong><\/p>\n

Carl: I\u2019ve always been interested in formalistic theories of composition, and have been meaning to learn more about the subject and experiment with it for years, but haven\u2019t quite got there yet – possibly, I think, because I\u2019m fundamentally more interested in the subjects of pictures than their arrangements on a canvas.<\/em><\/p>\n

My subjects are always fairly straightforward – generally involving one or two people, with no discernible background – and I tend to compose pictures instinctively at the start of the process, depending on a range of factors which present themselves in the moment. Having said that, on a couple of occasions I\u2019ve had to obliterate days of work and start again because I\u2019d positioned a figure half an inch too far to the left, for example, so perhaps a little more planning wouldn\u2019t be a bad idea at times.<\/em><\/p>\n

\"'Anna<\/a>
‘Anna Pujol and Andrea Battaggia 9’
Carl Chapple
Oil on panel, 30cm x 23cm, 2017<\/figcaption><\/figure>\n
\n

Lisa: You are known to work directly from life as well as from video footage and photography. Which do you most prefer working from and why?<\/strong><\/p>\n

Carl: Working from life is still my preferred option, though looped film does offer a practical compromise – allowing work to continue in the absence of the model, or (as is increasingly the case with some of my pictures) enabling me to work for hours or days with poses which may only be held for a matter of minutes at a time.<\/em><\/p>\n

The drawbacks with using film include losing some of the discipline and momentum which comes from having a model working in the studio – and, of course, not being able to adjust poses or light, and so on, during the painting process. The potential \u2018open-endedness’ of the process has risks attached too.<\/em><\/p>\n

In some cases, where possible, I think the optimal approach probably involves a combination of both film and live sittings. I\u2019ve tried this with a few portraits, and it seems to work well.<\/em><\/p>\n

\"Ballet<\/a>
Ballet Cymru 25 (Natalie Debono)
Carl Chapple
Charcoal on cardboard, 21cm x 29cm, 2017<\/figcaption><\/figure>\n
\n

Lisa: Can you describe a little bit about how you use paint – it looks like you apply it relatively thinly with a limited palette? What paints do you like to use and what kinds of brushes\/surfaces do you like to work with?<\/strong><\/p>\n

Carl: I use Cornelissen brushes, Michel Harding oil colours, Russell & Chapple stretchers and linen, and B&Q hardboard. <\/em><\/p>\n

For about five years, from 2002, I worked with a three-colour palette – a red, green and yellow – plus a white. This was part of a discipline I introduced to try to strip back my approach to painting and hopefully stop overcomplicating (and ruining) my work. Since then I\u2019ve expanded my palette quite a lot – most significantly introducing a blue – though I almost always involve the original three pigments, and I generally try not to use more than seven or eight in total in a picture. I\u2019ve been experimenting with a few earth colours and a black over the past couple of years, but am not sure where that\u2019s leading.<\/em><\/p>\n

I work on canvas and small panels, on both white and coloured grounds, and look to complete smaller works in one or two sessions, if possible. Larger pictures can take much longer, sometimes strung out over months, but these often seem to fail due to overwork if I don\u2019t complete them early enough. I use turpentine during the first stages of a painting, and walnut oil later on, but the process varies a lot depending on the ground, scale, and what I\u2019m hoping to achieve. I don\u2019t have a \u2018formula\u2019 for painting pictures, and after sketching out a monochrome underpainting on a canvas,\u00a0I frequently find myself looking at it and wondering \u201cWhat on earth do I do now?\u201d.<\/em><\/p>\n

Lisa: It was great to see that you used a Kickstarter campaign to help fund producing a body of work. How did you get the idea, what was your campaign and how labour intensive was it? Was it something you would recommend to other artists?<\/strong><\/p>\n

Carl:I was sceptical about the Kickstarter idea when it was first suggested. My only involvement with the website up to that point had been supporting a couple of friends with film-making projects, and I thought the work I had in mind was at too early a stage to present in that way. Friends persuaded me, though, and I\u2019m very glad they did.<\/em><\/p>\n

I\u2019d spent much of the previous year trying unsuccessfully to secure a small research and development grant from a statutory arts funding body, which had been an extraordinarily protracted and frustrating experience. By contrast, writing a Kickstarter proposal was straightforward, took a fraction of the time, and didn\u2019t need to involve nearly as many people.<\/em><\/p>\n

There\u2019s a wonderful openness about the process: you explain what you plan to do, offer a selection of rewards, ask people if they\u2019d like to get involved, and then wait to see what happens. I was quite overwhelmed by the support the project received, and even before reaching the point where I thought it might be successful felt hugely inspired and encouraged by people\u2019s reactions. I\u2019d certainly recommend it to other artists.<\/em><\/p>\n

\"Ballet<\/a>
Ballet Cymru rehearsal 27 (Miguel Fernandes)
Carl Chapple
Charcoal on cardboard, 21cm x 29cm, 2017<\/figcaption><\/figure>\n
\n

Lisa: What are you working on at the moment? What are the biggest challenges you are facing currently in the studio?<\/strong><\/p>\n

Carl: I plan to continue painting portraits and working with Ballet Cymru.<\/em><\/p>\n

The company\u2019s current production, The Light Princess, centres on the story of a character who is literally weightless – inspiring some extraordinary choreography and presenting me with a fascinating motif to explore in pictures. I\u2019m very excited about this, and hope to produce a series of canvases over the summer. The show itself has just premiered, and is joyous.<\/em><\/p>\n

In a side project, I\u2019m working with Cardiff-based actor\/writer Terry Victor, producing painted sketches of literary figures for his forthcoming Edinburgh show \u2018Well-Thumbed\u2019 – a comedic exploration of sexual subtext and innuendo in great literature. This is very different from the other work I\u2019m engaged in, but is lots of fun.<\/em><\/p>\n

Lisa:\u00a0Where online or in the flesh can we view more of your work?<\/strong><\/p>\n

Carl: I have an exhibition at the beautiful Ffin y Parc Gallery, on the edge of Snowdonia, North Wales,\u00a0from May 28th to June 21st this year. The gallery now represents me, and this is my first show with them – a selection of paintings from the past ten years.<\/em><\/p>\n

www.carlchapple.com<\/a>
\nwww.welshart.net<\/a>
\nwww.welshballet.co.uk<\/a><\/p>\n

\"'Lila<\/a>
‘Lila 9’
Carl Chapple
Oil on canvas, 66cm x 86cm, 2016<\/figcaption><\/figure>\n
\n

Header Image: Culture Action Llandudno residency, 2016. Contemporary dancer Angharad Harrop recreating a pose at the end of the FreeHaus art school project.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

‘Lila 9’\u00a0by Carl Chapple\u00a0was shortlisted for this year’s Jackson’s Open Painting Prize. 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