“The traces are made in movement, letting my body guide the flow and creating a mark on paper. My paintings are made in more of a traditional way.”
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“I try to use materials and develop processes that are specifically related to my subject matter, content and personal experience. My work addresses man's interaction with natural materials and how that leads to continual reshaping of our surrounding environments.”
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“When I work, it's across multiple media from painting and drawing to more experimental materials like aluminium and Lycra - it has been described to me in the past as a form of prototyping, like I am questing towards a more refined truth or content but to me it's a modern way of communicating in a language of visuals.”
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“My work is rooted in a complex conversation around our relationship to both natural and synthetic materials. I aim to highlight the coexistence and codependency between both and raise awareness about sustainability.”
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“It has been intense, urgent and I’ve tried to be raw and honest and real and un-contain both sexuality and fragility that exist in the paintings. The paintings have an autobiographical quality and they are markers of the time they are made.”
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“I was going for a floating, flat picture plane, but was still caught up in the window, and it took years working my way out of that compositional struggle.”
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“London doesn’t really inspire my work. The language I use usually stems from the North which naturally ties in to the topic of Brexit, the underlying theme in most of my recent work.”
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“When I came to New York City I knew nothing. Nothing about being an artist, nothing about selling or exhibiting, really nothing. This isn't unusual because I believe a lot of people come here thinking one thing and finding something else entirely.”
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“I began developing my own contemporary mythologies, continuing to paint scenes that told a story about the characters and personal relationships in my everyday life but also referring to the painting traditions.'“
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“When I look back at my work from past few years, I would say, that it was nearly a natural consequence, regarding the vocabulary I use, to focus on the simple things – the common things.”
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“I’ve just finished a fully illustrated book, The Spirit Almanac, which will be published in Autumn of this year with Penguin Random House, New York. It’s written by Emma Loewe and Lindsay Kellner. It’s very healing in content and visually the illustrations toe the line between the mystical and the surreal.”
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“Working the colors is always the hardest for me - how to combine the shades, how to have them interacting, how to keep the composition balanced - it's a challenge every time. In my paintings, I seek for a strong visual effect where colors play a big role.”
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“I think one of the best pieces of advice I’ve ever received was given to me by a professor. She told me to stop making work about things, and make work from something.”
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“I do control the process and I know how they will all interact but there is also some part of the process that is then open, left to chance so to say. As if there is something unresolved.”
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"But the drawings extrapolate that far out beyond logic or proportion. They become distorted and strange and humour creeps in too."
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Martin Lukac speaks about how he arrives at the completion of a painting and some of the processes he uses
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Current student of Camberwell College of Art Harry Roberts talks to me about his new solo show and recently completed paintings.
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“The primary focus of my practice is systematic drawing; it manifests as site-responsive installations on walls, windows and floors, and works on paper. The geometric artworks recognize the relationship between architecture, installation art and decoration.”
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Speaking with artist Jake Grewal about his processes and inspirations and what he's up to now
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Flora Yukhnovich: Rococo and The Feminine Aesthetic
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