Over the next few weeks The Palette Pages will be featuring interviews with artists selected for Artrooms. Set within the elegance and glamour of the Meliá White House, ARTROOMS is an interactive showcase of today’s most thought-provoking, mind-bending and awe-inspiring artists, carefully selected from across the globe by a panel of leading industry experts, art critics and buyers. Selected artists are invited to exhibit for free. This is London’s unique opportunity to come and scout art news and trends from all over the world.
We are delighted to introduce the art of Chris Horner.
Self taught or art school?
My art practice has developed through a continuous programme of learning. This started at a very young age from when I was at state school all the way through to my current status where I am studying for my Masters in Fine Art at the University Creative Arts. This regime of learning only increases your own individual capacity for art learning art practically and contextually.
If you could own one work of art what would it be?
A very challenging question to answer as there are many artworks which I appreciate but if I did have to choose one it would be, Francis Bacon’s Three studies for Figures at the base of a Crucifixion, 1944, Oil and Pastel on Sundeala board. The reason for this choice is number one Bacon has always been my most favorite painter, as for me he is in a class of his own, many artists have tried to capitalize on what he achieved but all have failed. The Crucifixion displays a grotesque horror which not only plays on the mind temporarily, it remains stored in ones mind, this for me is how powerful the piece is. Bacon’s intelligence to construct and narrate images is incredible, forms become represented in space which is both positive and negative, which expresses real emotion, making one read the work in an equal beautiful and sinister stance.
How would you describe your style?
My art practice is quite complex because I work with the subconscious, the process which I have invented is sourced through directions and rules, these carry an element of chance which makes the whole creative journey an unknown experience. I find working like this most interesting and exciting because the work constantly carries a freshness. I find myself as an artist becoming unaware of what is materializing when the work is in process, I include and remove myself all the time. For example I am first included during the selection of materials, then I am removed when the materials collide with one another during the transformation process, but then I am back in the frame, when I investigate this change and shift in surface. I record, document and highlight this conversion through mapping out the reformed surface though an obsessive ritualized action. This requires much patience and can be very challenging as it really is an endurance test. The adventure consistently changing and shifting, not just through the means of surface and material but the thoughts which surround me, this only settles once the process has been completed and all record of data filed.
Where are your favourite places to view art?
Favourite places to view art changes all the time, for me it depends on the art which is currently on exhibition. However some of the best galleries I have visited art was in Venice Italy, especially when the Biennale is on, in particular the two many venues the Arsenale and the Giardini. I have also been lucky enough to view the work by Taiwanese artist Tehching Hsieh, it was an incredible exhibition titled Doing Time, this was also in Venice.
Who are your favourite artists and why?
My favourite artists from a making perspective are Lynda Benglis who works with materials in a very rich manner, paying homage to nature and the organic, in a very industrial, labour intensive configuration. Judy Pfaff and Richard Deacon who for me like to expose the inner layers of the materials that they work with, this not only keeps the materials in the most rawest of states, but the work highlights their craft and this ability of artist and material holding an intensive relationship. The work by artists Tehching Hsieh and John Baldessari help contribute to my working methods, and what influences my making on a theoretical level. Hsieh works with rules and guidelines which supports the progression of his work governing the behavioural aspects of the work. Hsieh also works with this interesting theory that there should be a social life an art life, nothing should get in the way of art as it has to be rich and formulate as a living process. Baldessari works with the unpredictable, how art could be created through unexpected methods, almost composing through fragments in an accidental way. All the artists I have mentioned help support and inspire my own thoughts and reasoning’s behind my art.
Where’s your studio and what’s it like?
I work in two studios the first is in Farnham, Surrey and the other one is in Alton Hampshire. I like to work in a refined way, so I try and eliminate any chaos. I see both spaces as fairly neutral, but where they start to evolve once the work starts to breath and insert life.
Do you have any studio rituals?
Yes I have studios rituals which are carried out everyday. This starts from as soon as I wake up which is normally around 7 am. I exercise for 30 mins every morning, this is not only for physical fitness purposes but also mental ones, I like to swipe my mind clear of any baggage, as I need my mind to be fresh ready for the days work ahead. After all the necessities showering, changing into my studio clothes etc. I enter the studio where lighting goes on right away and stays on all through the working day. I tend to work 9 to 10 hours a day. The lighting is very important as it takes added pressure of my eyes when I am scanning the reformed surface, mapping out and selecting the new avenues found.
What are you working on currently?
I am currently working on 3 new sculptural paintings one which is large in scale, where the other 2 are on a smaller scale, I was interested to see how I would fluctuate and cope under the different area confinements. All works still hold this intensity and bold structural quality but each piece carries its own identity, as I have implemented different rules for each work. Although they originate from the same process they start to adopt their own characteristic, as each surface ingrains it’s own imprint.
Where can we buy your art?
My work can be bought from my website www.chrishornerartist.strikingly.com this is also where people can ask me any questions, regarding the process I use or materials I work with, etc.
What are your ambitions?
My ambitions are to keep learning and developing. The journey I am on as only just began and one which I think will never end. For 2018 I hope to exhibit my work a fair bit, I start January with two shows, the first is at Lewisham Art House 10th – 13th Jan with the Private view on Fri 12th Jan 6-8pm. The second is an art fair with Artrooms in Regents Park. Tickets can be bought from the artrooms website. The rest of the year more of the same, lots of showing and exhibiting.