{"id":353502,"date":"2015-08-25T06:00:17","date_gmt":"2015-08-25T05:00:17","guid":{"rendered":"http:\/\/www.jacksonsart.com\/blog\/?p=353502"},"modified":"2026-03-31T15:26:36","modified_gmt":"2026-03-31T14:26:36","slug":"an-interview-with-rae-hicks","status":"publish","type":"post","link":"https:\/\/www.jacksonsart.com\/blog\/2015\/08\/25\/an-interview-with-rae-hicks\/","title":{"rendered":"An Interview with Rae Hicks"},"content":{"rendered":"
Rae Hicks paints colourful paintings that draw their inspiration from the landscape and mass media culture. Nods to surrealism, pop art, cartoons and advertising present us with pictures that leave us questioning what messages they are attempting communicate, if any at all, and does it really matter anyway? We asked Rae to try and define his practice in words and we were rewarded with his fascinating answers.<\/strong><\/h5>\n

Lisa:\u00a0How would you describe your paintings?<\/em><\/p>\n

Rae:\u00a0That\u2019s always a hard question, and the one most often asked. I find it\u2019s best just to say the first things that come to my mind. Recently they\u2019ve been brightly coloured appropriations of landscape, taken from examples in packaging and mainstream design, but more disjointed; it doesn\u2019t make as much sense when you actually see them because I muddy those equations with my own tastes.<\/strong><\/p>\n

Lisa: Are the titles thought of before or after the paintings have been made?<\/em><\/p>\n

Rae:\u00a0I can think of them at any point, although usually if one hasn\u2019t occurred to me soon after the making of the work then it won\u2019t ever. I have to be careful not to just name them all after songs or albums, as they always sound so apt in the moment. I suppose the simple answer is \u2018during\u2019.<\/strong><\/p>\n

\"Rae<\/a>
Rae Hicks: ‘Why Don’t We Just…’, 175x140cm, oil and spray paint on canvas, 2015<\/figcaption><\/figure>\n

Lisa: How much time do you usually spend on a canvas?<\/em><\/p>\n

Rae:\u00a0It can be anything from 3 hours to 3 weeks. Like the titles though, if it doesn\u2019t happen within a window of time then it usually doesn\u2019t at all. There have been a couple which I worked on, on and off for a few months, erasing and re-working but those never worked. For me painting is all about playing with \u2018contrivance\u2019 and I like the idea of really forcing <\/em>a conclusion by a repeated rolling of the dice. It teaches you a lot because you can\u2019t change the parameters, you just have to work with the limitations provided you\u2019ve given yourself. For this reason the small works always take longer and I reach the brick wall many times before it\u2019s either ditched or \u2018finished\u2019.<\/strong><\/p>\n

Lisa: How do you know when a painting is finished?<\/em><\/p>\n

Rae:\u00a0Things can only be as finished as they need <\/em>to be, and it\u2019s important to understand that there\u2019s no such thing really as finished. But if you do any more than essentials then it starts to become a different work. There\u2019s a sort of sensation when something is headed towards something new and complex. It\u2019s like the feeling of having something in a trap, then it\u2019s just a matter of tying up ends and sealing it in. The beginnings of the \u2018finished\u2019 feeling is located in this first sensation, then once there is a basic coherence, it\u2019s as finished as it needs to be.<\/strong><\/p>\n

\"Rae<\/a>
Rae Hicks: ‘Los Simpsons’, 152x122cm, oil on sack, 2015<\/figcaption><\/figure>\n

Lisa: What was going to art school at Goldsmiths like? Was it as challenging as its reputation suggests?<\/em><\/p>\n

Rae:\u00a0Yes, but probably not in the way people expect. The challenge was that I was very puritanical when I arrived, about nearly everything. I couldn\u2019t process things which were mixed or contradictory. I saw oxymoronic relations as self-cancelling rather than productive, as if they were chemicals. But all of culture\u2019s progression is rooted in this differentiation. I felt that desire as part of the making process was invalid, because it is morally indifferent. And with this, all that motivated me was invalidated. But things kept me in practice such as being lucky with my tutors who were really enthusiastic with me, and very generous with their time. Also I think a lot of others were in the same situation as me. It was a mixed-up experience, but I think it ought to be really.<\/strong><\/p>\n

Lisa: How do you keep the momentum in your studio going?<\/em><\/p>\n

Rae: My process is in part based upon the actual lack of momentum, as this is an inevitable situation. It goes back to this thing of \u2018forcing\u2019 that I mentioned in question three. Conclusions and directions are often formed in a moment of mild hysteria, and I know this is useful but there\u2019s something strongly akin to religion in this fermented state, and I also <\/em>know that\u2019s terminally unsustainable. I want production to come out of the nothing-chaos and give that a voice, because that\u2019s how things are. It\u2019s also one of these \u2018constraints\u2019 like a painting\u2019s size, that ends up defining the work rather than carrying it.\u00a0 So apart from coffee and beer, I do very little to keep the momentum up.<\/strong><\/p>\n

\"Rae<\/a>
Rae Hicks: ‘Floorwall’, 200x160cm, oil on canvas, 2015<\/figcaption><\/figure>\n

Lisa: I’m told you paint with Jackson’s oils. Which range do you use and what do you like most about them?<\/em><\/p>\n

Rae:\u00a0I use the professional range of course! Pigment is, very surprisingly, important to me, and they have a nice, bright, home-made feel like one of those rustic curries where you can actually see the different ingredients. Like \u201cthere\u2019s a prawn, and that\u2019s a pepper\u201d. I\u2019ve learnt not to use bad ingredients the hard way. They have a chunky paste like Turner\u2019s dad blended them.<\/strong><\/p>\n

Lisa: You’re already a John Moore’s Prize Winning painter and you have exhibited in a number of prestigious galleries including the Saatchi gallery and the Royal Academy of Arts. But which moment in your career so far do you consider to be your proudest?<\/em><\/p>\n

Rae:\u00a0I don\u2019t want to be sound glib but there have always been a lot of co-organised projects and exhibitions that I\u2019ve done in various partnerships, and they are the fondest memories. They just resonate better over time, that\u2019s just the way it\u2019s turned out to be. Weird projects where you travel and pay loads of money and work really hard, get massively exhausted in a kind of kamikaze way. Looking back, actually recognised \u2018achievements\u2019 are quite adrenaline-y, and sometimes feel a bit like affairs. Although these instances such as the John Moores can put you in touch with lots of great people, and being in the environment can be an important experience that I couldn\u2019t have given myself. That was the first time I went to Liverpool properly and it was absolutely boss.<\/strong><\/p>\n

\"Installation<\/a>
Installation shot, ‘Red Dog, Black Wolf, Will You Remember Your Name?’ (Curated by Isabel Dexter) at Pi Artworks (Rae Hicks’ ‘Finger Painting’ on left, work by Charles Sandford on right)<\/figcaption><\/figure>\n

Lisa: What are you working on at the moment?<\/em><\/p>\n

Rae:\u00a0At the moment I\u2019m working on a series of mid-size paintings based on logos with architectural pretensions. They are for exhibitions which will happen in the next few months. The source images provide a way to breathe life into some unadulterated colour fields and take on a lot of surface materiality. I love how the corporate colour schemes are embodied by something luxuriant like oil paint which takes away their flimsiness but leaves a lot of the zealous optimism intact. It\u2019s a bloody weird combination, although an ancient practice.<\/strong><\/p>\n

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

Rae:\u00a0My website is raehicks.com<\/a>. Currently my work is on show at Pi Artworks, London until September the 5th<\/sup><\/a>. Next up is the START art fair at the Saatchi from 10-13th<\/sup> of September<\/a> where I\u2019ll be showing on my own, on behalf of Canal Projects. My presentation will be entitled \u2018Premium Projects\u2019. After that is the Sluice Art Fair<\/a> with Slate Projects<\/a>, which will be in mid October. It\u2019s a group presentation and I believe the title is \u2018The Grammar of the Hardware Store\u2019.<\/strong><\/p>\n

\"Rae<\/a>
Rae Hicks: ‘Finger Painting’, 180x150cm, oil on canvas, 2015<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Rae Hicks paints colourful paintings that draw their inspiration from the landscape and mass media culture. 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