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Course: Tate > Unit 3
Lesson 3: Women as Artists- Barbara Hepworth: Pioneering modern sculpture
- More than Picasso's muse: Françoise Gilot
- Biddy Peppin on the female Vorticists
- Art and identity in the work of Lorna Simpson
- Fiona Rae on paint and passion
- Nan Goldin's snapshots of innocence and childhood
- Key Points
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Fiona Rae on paint and passion
This video brought to you by Tate.org.uk
YBA (Young British Artist) Fiona Rae’s paintings are clever, lively, and full of restless energy. Her abstract canvases are an exuberant collision of painting styles: encrusted surfaces, brushy swathes and watery pools, along with kitsch cartoon elements, which somehow coalesce despite their differences. Similarly exuberant is Rae’s method of painting, using an eight-foot-long palette, an array of vivid colours, and a cart full of brushes she uses to craft her canvases.
YBA (Young British Artist) Fiona Rae’s paintings are clever, lively, and full of restless energy. Her abstract canvases are an exuberant collision of painting styles: encrusted surfaces, brushy swathes and watery pools, along with kitsch cartoon elements, which somehow coalesce despite their differences. Similarly exuberant is Rae’s method of painting, using an eight-foot-long palette, an array of vivid colours, and a cart full of brushes she uses to craft her canvases.
Many years into her artistic career, Rae admits she is still amazed by the possibilities of painting, and her passion for paint is evident in the way she speaks about it. Do you think that passion for a particular material can change the way an artist uses it?
Read more about Fiona Rae and explore her work in the Tate Collection here.
Want to join the conversation?
- It never occurred to me that artists could get ill because of the terpentine, are there other hazards to working full time as an artist?(10 votes)
- Yes, definitely! Watching this lovely artist's video , her creative energy and enthusiasm is quite palpable. I can see how Fiona Rae's passion in working with oils allowing her the flexibility to create varied textures in her work motivates and inspires her further. Her artwork is colourful and playful with a touch of whimsy. I loved her enormous palette with all these gorgeous, vibrant colours , so inspiring that I wanted to grab a canvas and start painting:o) watching all these wonderful artists talk about their work offers a much appreciated personal touch and insight.(10 votes)
- What are some of her most famous paintings?(1 vote)
Video transcript
This is my studio in Hackney. I've been here
about ten years, and for the last year or so I've been working towards my exhibition
in London. I work on my own. I prefer to be on my own because I can concentrate better
that way. In the past I've had assistants come in and help with stencils or background
colours, things like that, but I prefer to be on my own. This is my oil paint table.
I love having a really long, big palate, eight foot long, so I can mix up as many different
colours as I might need for a particular painting, and keep it quite clear and kind of business-like.
This is my trusty plastic pot thing, and I put some stand oil in it with this German
stuff called Shellsol, which is less poisonous than turpentine, but a similar kind of thing.
For years I used turpentine, which is just really appalling for your health. And you
swish it around a bit, and it makes a slightly viscous solution that you can mix oil paint
with to stiffer or more kind of watery effect. Oil paint is fantastically versatile. You
can just do almost anything with it. You can make it look like plastic, you can make it
look like chalk, you can make it go into thick mountains or thin pores. Occasionally I put
one or two other kinds of things in, but on the whole I just stick with this very simple
formula that actually someone at the Tate told me about when I first left college. This
is my brush collection, and again it s on a table with wheels on it, because actually
it's really handy to be able to shove it out the way. This is my dinosaur mascot that I've
had for a very long time. And again, I like to lay things out so that I can see what I've
got. Sometimes I want a very particular type of brush, and I can see where it is and that
I have it. Unfortunately they do get damaged, brushes, because I don t use them entirely
how you re supposed to. I think you re only supposed to let the paint go up to there,
and do all careful things, but in fact I give them some pretty heavy abuse sometimes. In
the bottom tray as well, these are brushes I use less of, like strange kind of super-long
ones, or draught-excluders just in case, or very big glue brushes. But I'm not doing this
kind of thing so much at the moment. I'm keeping it pretty much within a range of quite painterly
brushes. I never think of painting as old-fashioned. I mean, in a way TV is old-fashioned, and
video is old-fashioned, and installation is old-fashioned. Everything is old-fashioned
the minute it has been around a year or two. So I think it s as valid as any other art
form, and has as much possibility in it as any other art form. It's really what you bring
to these art forms that matters, not necessarily the form that you choose to express your ideas
in. So for me it's completely alive and kicking, and up for wrestling with. Okay, so these
are palates that I have used, and I've just chucked them on the floor rather than put
them in the bin just yet, because sometimes I need to pick up a colour again and know
exactly which colour it was. And sometimes it has even been useful to have all this dried,
congealed stuff, because it gave me an idea. You see on this painting, I had one of these
old palates kicking around, and it seemed obvious to me that I should scrape it up and
put it there, so I've got this thick impastoey stuff that I wouldn't have done if I had just
had a clear, delicious, clean palate. I've got a drawer full of things that I printed
out and cut up. In this box, this source imagery is kind of cartoony, childlike stuff, I guess.
I think it's got a playful quality. I found these things on the internet which - I've
got no way of using it, but I just printed it out anyway just in case. It seems to me
amazing that there are all of these different things you can do with paints, and to my mind,
why restrict yourself? I don t mind how people look at my paintings. I don't mind if they
just like the colours. It s great if they even look at them, so if they like the colours,
that's great, if they like the shapes, the way the paint walks and talks, is great. But
I wouldn't want to prescribe what people should or shouldn't think about them. I mean, if
they want to think about something post-modern that's fine. If they want to think about something
old-fashioned and poetic, that's fine too. Is poetic always old-fashioned? I hope not.