Sunday, 14 January 2018

Development

Here I am sitting and waiting for the gesso to dry, before starting a new painting. I thought I would share my ideas on the development of a painter. Most artists throughout history have shown a marked development in their work over their lifetime. I single out Picasso here as an example of the clear transitions he made in the development of his art. It is well documented that he started his painting career as a small boy, and by the time he was a teenager could draw like Raphael, in other words he was outstanding in his technical ability to be able to dry realistic representations like a great master twice his age. I read Picasso's biographies when I was a boy and realised then that I had to be able to draw realistically other wise people would not take me seriously. I believe this is a prerequisite for any  potential painter. It follows too that a certain technical accomplishment with  painted material  is also suggested to enable an awareness of the rudiments of paint and how best painting  skills can be utilised to fulfill future work. You have to learn to walk before you can run. As a young man I copied old master works, to gain valuable experience and accomplish technical skills, important to my development as a painter.  Below are two works I copied  by Caravaggio and Alan Ramsey:


Fruit basket (after Caravaggio) with added elements. Oil on panel 1998



Scotch Whiskey 1998 ( after Alan Ramsey ) with added elements

Picasso didn't  arrive at the painting below overnight, A number of periods of style change occurred throughout his development as an artist. These changes happened generally when influenced by other painters and movements of art to which he belonged or had known that where popular at particular periods of history. Picasso began painting in a realist manner later developing his own style. Within a 30 year time frame he went through certain  periods such as  his blue and rose periods: Here is a link to concise biography: https://www.widewalls.ch/artist/pablo-picasso/


                                                         Pablo Picasso – Algerian women (Delacroix) (detail), 1955


If there is a plan to a painters development, then it is realised through a determination to accomplish a goal, as Picasso puts it, "Our goals can only be reached through a vehicle of a plan, in which we must fervently believe, and upon which we must vigorously act. there is no other route to success" Not all artists travel through to an end goal of course , some remain in the realist genre choosing to perfect to the highest degree technical wizardry. They stay in this position all their lives. Picasso has taught us that there is a whole lot more to painting than this. The present day where developments in technology and the world wide web has placed artists in a depth of knowledge that we cannot ignore,  like never before we have major influences of artistic development at our fingertips, everything from abstraction to conceptualism. There is an obvious history in the 20th century of conceptualism and abstraction that I haven't mentioned here. Suffice it to say that this blog is specifically about painting. Although I recognise that their are other methods that artists use to express themselves, I have at this moment in time no wish to pursue conceptual ideas as I believe there is so much more to say in painting, however, this may change in the future. my development has included a period of realist figurative work, and a slow but meaningful transition into a more deconstructed and abstracted means of expression, which I believe can be demonstrated through my website here: http://www.johnhoganartist.com

I am nearing my 49th birthday (this month) I have had major difficulties and obstructions in life in my goal to achieving a new and distinct style. My work has slowly developed and been deconstructed to such a degree that it is unrecognisable now to where I was initially at the start of my career. Within each period I realised there was so much more that I could and should of attained within each paradigm, and on occasion I side step back to a place where I once again test my hand. however, time waits for no man and there is so much to do. Of course I am only young, and hopefully lots of time under my belt still to accomplish my goals. At the present time my work is based upon my wish to realise a new way of representing the world, I remain a figurative painter, however the figures in my work are now deconstructed to such a degree that my work boarders on abstraction. I have experimented with pure abstraction, and in the future it may come to a more fruitful goal. below are 3 paintings from the last 3 months illustrating my steady progress and development, progress that is built upon a base of technical accomplishment and growth.


                                                   Tramp. 2017 Oil and acrylic on panel



W10. 2017 Oil and acrylic


9N7PZ1 2017/18 Oil and acrylic

 I aim to push my current aesthetic further. I want to embed my work in a new futurist ideology. One that places the work in a new context other than the world we inhabit. There is no need for titles any longer, as I wish to impart a new meaning to the work, the numbers and letters are both an indication of the time, place and sentiment, a short hand, a reflection of the ever more influential aspects of modern living, namely technological, and  scientific, development. I am aiming to produce work of this time, that fits into this time, along with a look to the future, I do not wish to merely illustrate  science fiction, rather I wish to envelop the iconography, ideology and aesthetic of living in the 20th century. An expression of our time. 

Wednesday, 10 January 2018

Style and Art opinion

I have a couple of issues on my mind that I would like to share. Firstly, The term artist, and what it means to me. Recently, I heard an interview with  Tracy Emin on radio 2 , what struck me more than anything was her  reference to being an artist, " I knew what I didn't want to be, I wanted to be an artist" let me say that, An artist is born not made, a person is genetically predisposed to becoming an artist, there is a distinction between creativity and what constitutes an artist. Creativity is within us all, we need it , its a part of being and living, we may use more or less of it in our daily lives, the more you have at any one moment or time span will enable pronounced creative practice. The artist, has a heightened amount of creativity that never diminishes. Creativity that does not suggest, it shouts. An artist has to make time and a place to accomplish the work forced on by creativity. And so when Tracy emin says she wanted to be an artist, well, artists don't have a choice, you are born that way. I would also like to say that a university doesn't make you an artist either, some artists like David hockney who went to the RCA is an artist, and although he was guided and influenced  by the lecturers they didn't make him. He personally  developed. Tracy emin attended the RA. If an individual attends one of the more prestigious art colleges the only time they are made is when they qualify, because these establishments are part of the art elite, and they have networks to establish an artist to such a degree that when they leave,  they have a high prevalence of  notoriety and even fame,  for just attending the university, far more than from any other lesser university. The art world is fuelled by elitism, a select number of artists make it in life, those are not necessarily the most talented. Who gauges what a level of talent is ? is it the lecturers, critics, the layman, or other artists. I have respect for Peter Doig I enjoy his work. But his use of photography, found images and tracing images surprises me all these methods are akin to old style illustration methods, I thought ANY reference to illustration was outdated and frowned upon in the art world! obviously not ..surely,


Peter Doig in his studio 2013

 the artist who imagines a work from start to finish without any extra visual cues is using far more skill, ability and talent, than someone who uses found images (readymades) its easier! Ifs its not the level of skill and talent that counts as to how successful you are then is it purely the aesthetics of the produced work that sways vast amounts of peoples free will. No, it is like anything in society, it is being in the right place at the right time with the right people behind you, backing you financially and logistically, its about power and influence. Its literally forced upon us, Tracy Emin's recent interview on radio 2 has been ceaselessly advertised almost hourly for 10 days prior to the event. If that was done for ANY artist, they too would be held in high notoriety.

 Now to the question a of style. My own work has gone through a number of directions over time, on occasion a particular style has remained for years, to me this is a normal process, not necessarily anything to do with development,  but rather an exploration of a means of expression that made sense at the time. Personally I believe that a true artist will by default, continue to realise and reorganise their mode of representing the complexities of the world and of living, by which ever means. Being creative is a constant re evaluation of self, time and personal practice, its in constant evolution. I had little sleep last night as I came to a realisation that once again my mind had shifted. The painting I am in the process of at the present time will be the last in my current style, you wont see the style again. I am full of the next big thing and all my attention will be towards a new style. I acknowledge that to others it may appear that i am lost in my direction, however, as I have said its a natural occurrence for me and I have to go where the creative drive takes me. I will be painting over most of my work from 2017 and as a new start for 2018 my work will focus mainly on a return to using oil paint as the main medium, rather than acrylic. If its common practice and has no repercussions as to an artists merit, then I may begin using some of the same easy methods myself rather than completely imaginary work.

Wednesday, 3 January 2018

Process

I have a system in the way I generally work on a painting from start to finish that I would like to share. My process may also give others ideas as to the methods they employ. There are of course many different practical ways to create a painting, some are tried and tested by artists throughout history, other methods, especially material techniques have evolved with technological advancement.The surface I prefer to work on is hardboard, this is exterior grade wood which is basically a sandwich of thin layers of wood glued together in the factory and compressed to make one piece. There are a number of thicknesses, from 9mm to 24 +. Through experience I found a size that was thick enough to maintain its rigidity when at a larger size, that is manageable when moving around and ultimately practical when and if the work is eventually hung on a wall.  I always use 18mm thickness. The size of the panels is slightly restrictive in that they are only available in 8'x 4' sheets. When I order my wood from a timber merchant. I ask them to cut each panel down to my required size, I usually like to work at 5'x4', they also supply the off cut which can be used for another smaller painting. Using a wooden panel as a painting support is a personal choice of mine, canvas is the traditional medium although wooden panels have been used by artists as supports throughout history . I have used both wood and canvas, although I prefer wood over canvas because I prefer the rigidity of wood, when painting on canvas even when its stretched rigorously it tends to still move when painted upon. I generally paint 3-5 paintings a month usually 3 large panelled works. I work for 9 hours a day, excluding breaks for meals. I prefer to work late morning and often work until 9 pm or longer when the lighter nights arrive. I do also have a daylight simulation light when in the dark winter months. I work everyday including weekends. My studio is actually my flat (rented), it is a large victorian building and so it has high ceilings and large windows, I chose this particular flat because it had a large south facing bay window, perfect for the even  light source necessary to produce a painting. The flat has plenty of room for working and storage. Ideally I would of course like a a large separate studio, saying that I do like to have my work on view even when I am engaged in other things. My bed is in the same room, and I have a small separate kitchen and bathroom. It is pretty ideal, although eventually of course I will have to look for alternative storage space. I rolled up the supplied carpets and moved them to under my bed and sofa. this gives me a wide floor space area that I don't have to worry about spilling paint on.  Firstly, I lay the panel down flat upon the floor. I then coat the panel in 2 coats of white gesso primer. The primer I use is high quality but is economical as I use quite a lot of it on a monthly basis. I use Windsor and Newton acrylic Galeria medium. It comes in 1 ltr and 2ltr.


tubs. I use a  household 3" wide brush to apply the gesso. I work across the panel  form side to side in one direction, I then wait until it dries (in a round 4 hrs) and then I work in the opposite direction onto of the first dry layer with a slightly thicker layer, always trying to keep a unity of depth and minimal brush marks, and minimise the inevitable bits of material that seem to appear from nowhere. You really only need 2 coats (recommended) however you may apply as many as you like, There is no need to size the wood before applying the primer. I paint the edges also sealing it all in. When both layers are thoroughly dry its time to lay down the planning drawing. Of course some artists don't start with a drawing, prefering to draw directly with the paint some preferring to let chance and action dictate how the work happens. I prefer to map out where I want things to go , however the painting always evolves, sometimes drastically from the original drawing. I tend to formulate my ideas with small sketches, before I work on the panel. The small ideas drawings are very loose, and often achieved quickly as I usually have the image in my minds eye and its just a case of formulating what the composition and perspective will generally be along with the sizing of objects I want to include. The image below is the rough drawing I completed with a view to it being the final work on the panel above. 

When I am happy with the concept the final drawing upon the panel can begin. I generally start with an area and expand out, I am upscaling the drawing on paper which is just under A3 to the full size of the panel 5'x4' I don't use any measurement techniques, I tend to just go by eye. This is of course when things can alter from the original drawing idea, however it doesn't matter as it adds to the spontaneity and enjoyment of composing the small idea on a large scale. Happy accidents are a wonderful thing, from this stage on the painting is produced with a final image in mind, but the colouring, tone, line and forms evolve and may end up far different that the initial concept drawing. I the upscaled drawing is drawn with a weak Burnt sienna oil colour, mixed with a fast drying medium (liquin) and a small amount of turpentine. I prefer this colour I have tried others in my career to lay out the drawing but I have found this colour works best for me, I like it as the base colour, and it lends itself to being used in itself when areas are left within the final work. It can take up to a day to draw it all out, to the way I want it. I use a lot of turps and rags to put on and rub off to adjust line and order as I go, often stepping right back about 3 meters away (at the other end of my kitchen) to view intermittently to make sure all is going well. Because the work is quite large it is helpful to see how the work may eventually work on a prospective wall. Below is the finished drawing on the panel. (day 2-3) I tend to work between 3-5 paintings at the same time depending upon the size, they are all at different stages of development (interspersed with new drawings and idea formulation) although I usually carry one through to full realisation, so that when i've finished one i'm ahead with the rest in the production line. Some of course never make it, this can happen at any stage, this is why the initial concept drawing idea has to work, but there are lots of reasons for me to disregard and start again. occasionally it can even be finished and I just cant live with it and it has to go (either overpainted or put out of site to be looked at again with fresh eyes later). mostly, however, the initial concept is enough to see it through to completion. But I generally don't like what I paint and at pains to show it to the world, but then I think well thats what ive done good and or bad so there it is. Below is the scaled up drawing completed for this painting.(TRSC8) As you can see the work has developed somewhat from the initial concept  sketch. 



Next is the painting stage. in which the work will change dramatically with the advent of colour, at the painting stage new changes to the overall concept will develop. I see the whole colouration in my minds eye, I tend to work quickly, mixing oils and acrylics, not necessarily together, but each in places where they may be best suited, oils dry slowly even when using Liquin the fast drying medium they dry slower than acrylics, and so  I use oils where i know they wont be touched for a while they dry. I use many techniques to apply the paint, nowadays my work is mainly fairly abstract so there are lots of flat areas of colour, I may splash, drip, scumble, or use wet in wet, I may place colours on top of others without mixing ( or straight from the tube) I mix as I progress, deciding quite quickly where they will go and how they will work best when next to each other. Balance of colour is very important for the composition to work as a whole. Primaries and secondaries are observed and either used to accentuate or diminish effects. Its not unlike a game of chess, in that it all has to sing as one, something is either right or not so right. learned experience comes into play a lot, however, rules are constantly broken, in an effort to push the work in a certain direction, and overall aesthetic. The complexities of my style are of themselves, and have generally been born of a desire to accomplish a certain vision, and mostly concocted through creative abilities which I cannot fully explain, I do tend to use a majority of white, some areas are painted white others are left with the underground surface showing through. In my current work I am aiming to imbue an ephemeral light into the work, to keep things fresh and to retain dynamism, paint is thick and thin a light wash or thick impasto. (I occasionally put the dried up paint from the top of the tubes, into a wet piece of paint to stick it) I mostly use the original colour I have thought of on the hoof so to speak, and put that down, I don't overpaint most areas. my brushwork is loose, with a loaded brush I will draw a long stroke, I will paint a colour in short dabs in areas to accent the under colour (usually discordant colours) to disrupt, or complement colours to reinforce an area big or small.  Painting is an immersive almost  spiritual experience, I loose myself in the process, often coming round after a few hours, my feet aching. Those are the periods when  creativity takes over and you get lost in the exhilaration of it all, I will often come around and say to myself did I do that, its like being on autopilot. funny.. I haven't yet found a more pleasurable experience, one that involves all the senses, I don't care to do anything else in life. 

Saturday, 30 December 2017

Ideas and philosophy

The universe, and the philosophy of our existence within it, are integral to  human life. You may or may not be totally aware of the big questions, the precedence of a philosophical mind may be hindered by the mundane and banality of work and everyday life, swayed by wealth and notoriety, or repositioned by poverty and hardship. The truth is, most of us get on with existing, in a kind of  happy ignorance of bliss, reminded only when the rat race, complications and practicalities of societal living, give us a reason to dwell on the greater scheme of things. Organised Religion is a mass philosophical  bias and belief in an ultimate creator and existence quantification. If this is you, then that is your prerogative,  ultimately enabling  a reason for it all which is necessary for spiritual happiness, indeed anything that offers this support is absolutely part of being human. The meaning of life  is open for debate as yet no one truly knows. In the mean time, the media in all its guises offers the masses conjecture and promise, huge organisations proliferate vision, guidance and emotional security. Technology enables mass support within its unity of communication. The bottom line is we are all unique and whether we know it or not, we are special, with each their purpose. Collectively we are a wondrous part of a beautiful planet, if we can only mange our deficits and assist each other and the planet we can sustain an environment where true greatness can proliferate , magical things have already happened, made possible by those that have passed and the subsequent guidance from history should assist us to grow intellectually and spiritually. As we strive for goodness and a better future for our offspring we will enjoy the fruits of our labour. As a human race we are destined for great things.

               The arts offer a catalyst for clarity and discourse, a place to find ourselves and make sense of things. As an artist I am fully immersed within a world of intrigue, as a small boy I wondered at my existence and what it was all for, as soon as I could communicate my inner self to the world in order to quantify myself and share ideas, I understood that, it was the most difficult of things.There are many ways to achieve vast communication. For me,  Painting offered a vehicle for expression, that I felt most comfortable with, however, my chosen path, was fraught with potential difficulties.Presented with a vast art history and millions of artists before me inventing and reinventing the course of art was almost  overwhelming. Where could I go how would I accomplish a way of seeing and presenting my ideas that would offer a fresh way without apportioning myself and my style towards that which had been done before? I would say, in today's world that is near impossible. I knew however, that to be able to make a contribution I firstly had to learn the craft, as millions of others had done before me. That is how I began, copying old master works. Later I made my own work within the old master, realist genre. I also produced many self portraits to find myself and question my existence. Through my journey as a painter I have produced many styles reminiscent of other artists and art movements in the past, This was necessary to enable an understanding of technique, but also to place  myself  within a parameter relevant to my own style, by informing my own work it enabled a thorough synthesis of artifacts and notions, the what, how and reason of painting. It was not easy, the road to where I am now with my work was fraught with  disillusionment, angst and disappointment, I destroyed a lot of work (and still do) Those that survive are not given freely, I am never truly happy with anything I produce. However, I continue to push on, I don't know exactly where I will end up stylistically. However, I have  many ideas that need to be realised before I leave this world myself. Ideas come from a multitude of sources. Creativity is both an wonder and a deficit, a need to produce can be overridden by living practicalities, and the nuances of personality traits loom ever constant, some of which are anti work biased and they are sometimes hard to dispel. My ideas are generally generated by observation, both directly and indirectly, I may be driving and be aware of a certain light reflected on the windscreen which may trigger a new strand of thinking. The shape of a leaf or the breath of a breeze, ideas stem from an inquisitive mind and a creative view of the world. Sights, sounds, and people watching, wherever, and whenever  they materialise, it is always exciting. I have sketchbooks, or rather ideas books, where i may just write a word or little diagram, mostly my ideas are within my mind, I keep them there in a place of order to realisation, I say to myself that has to be done before that to make that more sense, or, I will do that by then, then that will lead to maybe that, it is a constant process, I am luckily able to sustain, creativity is a wonderful thing, but it is also burdensome. When inspiration appears it is all consuming, to the exclusion of everything else, the work has to be done, and it is extremely harrowing when life gets in the way and prevents a smooth realisation. My current work is born of much development and a synthesis of hundreds of ideas. My current work is an attempt to accomplish an aesthetic all encompassing of a technological age, that is, not merely a representation  of science fiction but rather an acknowledgement that modern painting should seek to look to the future, in this regard I am aiming to realise a  body of work that addresses the big philosophical questions of what is the nature of existence, why are we here, and what is it all for, pursued through the vehicle of the  human condition and the nature of being. Below is an example of a recent painting entitled W10. A couple intermingle in an embrace, of this world in the sense that copulation and intimacy are observed, but not of this world, or not as yet, Mine is a future world that may already exist in our minds eye. A spiritual place. an extra dimension, of fulfilment , luminosity, and inner enlightenment.  www.johnhoganartist.com


Friday, 29 December 2017

Why paint?

The present day, molded through art history development  has enabled artists and musicians an ever
increasing plethora of mediums open to the artist to both develop their practice and express themselves. I found out very early that I could not sing and, even after experiments with various musical instruments, found that I did not posses a talent for music. I also experimented with sculpture. I remember building large scrap wood sculptures in the garage as a boy, however, The only way I found immediate enough to fulfill my expressive needs was through the two dimensional surface art of painting. At school I spent hours in the library reading art history books rather than playing outside with my peers. I would drool over all the famous painters work which inspired me to the bone I loved their work and longed to paint my own.I quickly realised I required a means to create and painting was the obvious choice. My childhood and teenage paintings went through many styles as each artist in turn left their mark on me and my work. A few people bought them and I gained sufficient praise. I was not fortunate to come from artistic parentage coming from a working class family I was not encouraged and indeed mocked by some quarters with remarks like' your wasting your time', and 'people only like your work when your dead' also, 'get a proper job'. Most of the work from this time was never recorded or is presumed lost. below are two early paintings. As examples they are quite traditional, however I produced semi abstract work, expressionist and minimalist examples also.


Early Self portrait


                                                     
                                                      The wait. Oil on panel 38x22 1990

I love paint, I love the smell and consistency of oil paint and the amazing variety of color combinations and styles that can be achieved. I love the dynamism of acrylics and their particular look when dry. I now love to combine both after many years of experimentation I began to understand each mediums nuances. In the search for a style I have been through many in my development over the years. Always in search for my own voice my work has changed time and again. I paint because I enjoy paints  immediacy and as a means of expression I find it works best for my personality and temperament. I am a very patient person but I do like to get things down quickly to enable more time for the next. From a very early age I began to question society and the world, what we are as human beings and  why we do what we do and why are we here at all. For a number of years I painted in my spare time in between work and education. After a nervous breakdown and divorce after an 18 year relationship, I was diagnosed with a mental health condition. I began to paint full time and developed a style that was conducive to my vision and expression. I spent a number of years painting covering many styles until I finally settled on a figurative approach and a semi abstract means of expression, the majority of this work can be seen here: http://www.outsidein.org.uk/John-Hogan along with some of my traditional illustration and a few of my recent works. I recently undertook a masters degree as I had come to a point in my painting development  where I needed a break from my practice as a painter. I felt stagnated and the work was not fulfilling my needs any more and so I decided to do the MA in illustration to enable a connection with my work and to develop my ideas for when I commenced painting again. I have now returned to my home town of southport a place where I find solace, which in turn enables a relaxed and renewed focus on my work. I have started this new approach to my painting recently after my break. I again began experimenting to find the sweet spot, the place where all the elements of creating and expression come together. I believe I have found my style again, the new work has obvious similarities to my previous work but as I planned has developed sufficiently after a break . Below is my most recent, I have a great deal of work to do as I have many unfinished plans for future work. When I have 10 new works i will once again acquire a website, and after accumulating 20 works I have plans to exhibit. Most of these new works are large format on panel, I prefer working on wood as I like its sturdity as apposed to canvas.my new working method includes both oil and acrylic mixed as the the painting develops, I have found that oils have a tendancy for depth as apposed to acrylics which have a more plastic feel and tend to appear to float, and so when combined in strategic places adds to the works dynamism.
I still feel that drawing is an important start to a painting and my new work has areas where I have left the under drawing as part of the overall painting. Above is the initial layout drawing. I always start my works with an idea or concept sketch, these are very loose as I search for the perspective and composition that best describes what I am trying to say below is the concept sketch for the above work.



Initial concept drawing



                                                   
                                                   Developed underpainting drawing


                                            Fast food. Oil and Acrylic on panel. 5x4' 2017

 I don't use reference material or models for my work as I don't wish to be encumbered by possible visual motifs present within the photography that I may transpose unwittingly to the painting. This would in my view pollute the work. I therefore rely on memory and my developed knowledge of anatomy and other visual motifs and objects. I enjoy the painting stage best as I can be free and arbitrary in my colour selection. I work quickly at this stage having small breaks to view at a distance my progress, and to decide where next to put colour. For a painting to 'work' is like a big game of chess, complementary colours and opposites are juxtaposed to find the best effect. Rules are broken constantly to achieve discourse and dynamism. I enjoy changing effects and creating different views. Overall the style allows me to stretch and manipulate the visual effect. I have developed an anonymous look to my figures, and  as with my previous style this is to distance them from any ethnic origin and reinforce the universality of the humans in  my work. The seemingly indiscriminate colour forms in my work are a development of my previous work in that they are both a substance in themselves and may be related to molecules, DNA, elements in the universe, biological or scientific elements, and/or spiritual entities. They are also used to develop the composition both physically and in their colour form. Overall, I am pleased with my painting progress both stylistically and as a means of expression. Again the work is not to everyone's taste and the subject matter may even offend some people. I feel the way to make a painting with a strong message is to be honest, even if it appears brutal. There are no rules in painting only subjectivity. open to infinite creativity and free abandon, One of the many reasons of why I love painting and why I paint.

Reasoning

The reasoning behind my current practice is many fold. I believe every artist goes through transitions with their work, periods of experimentation in order to acquire visual knowledge to further fuel possible directions in their work. I am no exception to this, I have recently gone through such a change and would like to share my process and reasoning here. Firstly, I come from a traditional skills background. In my younger years I studied the old masters such as Velasquez, Rembrandt, Da vinci, Rubens ect. I produced many copies of these masters to learn the craft. Later I revisited the traditional realist styles and applied some of their principles of style and working methods to my own work. The work was on a large scale painted from my imagination and life as I searched for my own voice. During this period I began to search for a modernist style continuing to prefer the figure in my work. I looked to 20th century painters for my inspiration and also reviewed my own work from an earlier time I was particularly interested in the German expressionists such as Oskar kokoscar and the dutch painter van gogh, I was also inspired by Picasso and the impressionists. Also a vast number of contemporary painter too many to mention here. I continued to search for my own identity I traveled through many different styles to find a style of work that would both serve my purposes in relation to self expression and any subjects I wished to pursue. I continued to utilize the figure in my work, although I also employed abstract work to fulfill my expressive needs. I believe there are key pieces from my past that have informed my current practice although they are not the only works. I am not unlike other artists in that I have hundreds of unfinished work and many destroyed before completion. In fact I dont keep many of my previous work and have little regard for it. My note book is full of ideas and styles I wish to pursue , whether or not they see the light of day is due in the main to my negative reasoning and usually based upon ideas and influences from other sources that negate me even starting work.I am not unlike most artists in that I have a high expectation of myself and the majority of my work I dislike and gives me displeasure and angst to show my older work here, however it illustrates my progression and development and so is relevant to my current practice to show some of it here. Below are a few other examples from my previous practice.





Below are a few examples of my recent experimental stage where I sought to find a new way to accomplish my ideals and create a vision and stylistic vehicle to augment my current plans for a new body of work. I tend to concentrate on head studies when in this faze. I was searching for new descriptors for my vision and also gained knowledge through research and a lot of drawing, both idea sketches and more finished work.Drawing is fundamental to my practice and is the basis of my paintings although this has not always been the case. part of me actually feels guilty in this respect as the new modernist ideal doesn't appear to value drawing as such as used in the traditional sense of under drawing. I looked to a more naive style where a more childlike appearance was seemingly justified fueled by current fashions and some of the great modern masters (Picasso) and critics subscribe to. I  also revisited a more realist style. Below: 










I wanted to deconstruct the figure to a large extent reducing down to abstracted elements I was not concerned with anatomical correctness, nor with expressing natural colours or tones although I wished to retain some degree of formality and indication to reality. I love people and so I am interested in all they do even if a lot of it is eccentric and morally and ethically questionable. As for the subject matter, at the current time I am utilising the nude and specifically lovers as a vehicle for certain subjects in society that are deemed important enough for me to have a conversation with it. The fact that my figures are naked is important for the message I wish to convey, its about our showing us in a natural light something we still have moral and ethical constraints about, I am not trying to shock or depreciate anyone I just want to show humans in their natural state and I think it adds strength to the message stated. This is a series of works that will become apparent as a whole when I obtain a website and gain exhibitions I also wish to have another strain working alongside lovers which I may be naming fighters.  My work involves compositions that would not work very well with certain styles in my minds eye. I absolutely adore colour as my previous work illustrates and I believe the ultimate dynamism in any image is down to the colour, and so colour is very important to my vision. I also wished to produce work that included large flat areas of colour and broad brush strokes. I enjoy ala prima as it is more expressive and very commanding of time and any talent you may have. I enjoy constructing paintings and so composition and perspective are important although I do enjoy manipulating these elements and designing for visual dynamism is key to how I construct and conduct my work. I am ultimately searching for a new aesthetic which is extremely difficult to achieve in a modern day where a vast art history weighs heavy and seemingly every conceivable image has been achieved already. I also believe it is an artists responsibility to push boundaries and chase a style befitting of our time but also to look to the future. Conversely, I am always mindful of the possible complete demise of the image if deconstruction carries to its natural end. I am reminded of a quote Im not entirely sure where it comes from but goes like this: 'Art proceeds with self cancelling steps until all thats left is a blank canvas' Contrary to current doctrines which appear to favor primitive, naive and minimalist ideals I feel that although its acceptable to reduce down to its lowest common denominator and play with ideas of something having innate qualities and no description is necessary I prefer not to completely reduce everything as in abstraction, and as Rose Wylie demonstrates. I am not discounting it, maybe if I live long enough I may end up there myself in later years. However at the present time I have a lot of work to do. Figurative work remains a strong part of my practice as does abstraction, I have retained abstracted elements that describe abstract things and notions, they also describe universal and fundamental elements from science and mans modern understanding of life and the universe. My current work is an exploration of the basis of man and all his foibles and also on a modern societal level where there are issues of reality that I cannot ignore, and so I choose to turn my back on pure philosophical abstraction, and focus on the here and now even if I am doomed to the accusation of illustration and not art!  and god forbid that my work has a narrative! I believe my current style is a natural development for my practice, It is an amalgamation of all the styles I have visited and has elements of all the modernist terminological demarcations of style within it. Whether or not it is successful in its modernist and futuristic aspirations is subjective, however it is true to my love of painting and of the many thousands of previous artists work and all the artists working today. you can view my work here: https://www.johnhoganartist.com
















Influences, and inspiration

Ever since I was a boy and able to think  I have loved images, they excite me and i have spent my life pouring over countless painted images, most of them exhilarating and have made a lasting impression. I am a figurative painter and have always enjoyed using the figure to make my images. I was so enthused with ideas of how and why painting the figure was important to me that as a small boy I began my painting career.  As a boy my influences came from hundreds painters both living and passed. I was, and still enthralled with the old masters such as Rubens and Velasquez. William Blake and Botticelli where among some of the pictures on my wall as a teenager. There are obviously hundreds more painted images that are far too many to mention here as are the thousands of images that have not been painted, images observed in everyday life that capture the imagination or envelop your senses with their beauty, and nature, well she is the master of all artists.


                                                                 Botticelli. Primavera (1482)




       William Blake. Nebucanesa

18th and 19th century painters such as the German expressionists, and in particular the Austrian painter Oscar Kokoschka, Soutine, and Ensor where also highly influential. I enjoyed their coloration their satire , and the deformity of the figures, deconstruction was also extremely informative. I adore van gogh, his unique way of painting is just amazing and highly influential, as was Paul Gaughan for his flat planes of color. The french impressionists where a great influence Particularly Georges Seurat's  A Sunday on La Grande Jatte 1884.



                                          Georges seurat. A Sunday on La Grande Jatte 1884 




                                                 Oskar Kokoschka hans Tietze and Erica Tietze (1909)




                                            Ensor’s 19th century paintings of Dutch bourgeoisie



                                      Soutine. Brofransson:Young Girl in Pink Chaise 1924


Ernst Ludwig Kirchner. Nudes standing by the stove 1908


Paul Gughan Cristo giallo 1889


                                                   Van Gogh Self portrait as a painter 1888

Picasso is an obvious choice for me as he revolutionized figurative painting and when I first came across his work as a boy I was mesmerized as I had never seen anything like it before. He stretched the boundaries and made it possible for future generations of painters to truly open their minds to what could be possible in figurative painting.


Picasso. Les Demoiselles d Avignon 1907

 Of the contemporary figurative  painters That  have inspired me today I would include three particular painters, Rose Wylie and Dana Schulz and David Hockney. All have captured my imagination.


     David Hockney.The group XI.  2014



                                                             Dana Schulz. Poke 2010

     Rose Wylie. PVC Windows and Floorboards 2012

And so where do I set my own work?. At the  time of writing I have come to the conclusion that being true to yourself is the most important. I remain a figurative painter, I am an observer and  painter of the human condition and so I am obliged to include people in my work. The quandary is within the way this is accomplished. I enjoy the making of a painting, the ideas, however there is a current favor generally for the unmade, the idea that you begin with nothing, a totally arbitrary and by chance, letting the actions and emotions take precedence over the idea of making the work. However radical Dana Schulz and Rose Wylie appear to be, their work is mostly contrived, they start with something and an idea appears Rose Wylie draws straight onto the surface being inspired by found images in newspapers and observations on the television. Dana Schulz plans her work has an idea and formulates a plan to conceive the final image she draws  before the painting In any case drawing is fundamental to their painting. One could write a book, and many have, on what actually constitutes the act of drawing. I believe my work is somewhere between Hockney,Wylie and Schulz stylistically, I too utilize under drawing as a plan for my ideas. Unlike Wylie who draws directly onto the support with the final paint. As far as the rendering of the figures is concerned, at the present time,  I choose to draw semi proportionate (anatomically correct) figures, there is only a slight indication of deconstruction or exaggeration of limbs. At the present time I like to keep the under drawing as integral part of the work  and leave some areas with no paint. My coloration is rich like shulz tonally arranged to create dynamism and impact, my colors are flat, but I allow them to make form. If you look at The Hockney figures above you see he has some areas that are flat(no modelling) and some with the seated figure for example, there is a different tone of blue to indicate the shadow produced by the bend in the knees. In Schulz work the the man figures shirt still indicates some modelling with colour. Wylie almost never indicates using color as modelling, however you notice in the work abovethe seated woman in the dark blue dress has a blue shadow behind her. Line in Wylies work is fragmented and sketchy in places there is no uniformity some figures  are given drawn outlines  some have none. Wylies work has been considered naive by some critics and some have called them childlike and not unlike cartoons: http://www.telegraph.co.uk/culture/art/11652527/Rose-Wylie-I-dont-like-arty.html I enjoy the work personally, and in a lot of ways illustrates what Picasso always wanted to aspire to in ' painting like a child' "It took me four years to paint like Raphael and a life time to paint like a child" At wylie's great age of 80 maybe there is some truth and merit in living a long time as a painter, maybe to paint like a child  is the obvious conclusion . I am 49 and relatively young, I have gone through years of development, I have covered most styles in my search for a definitive original style, everything from photo realism to total abstraction. My current work is an amagamation of all my influences and painters from history and the present day continue to inform and influence my practice, what I will be painting if and when I reach 80 years time only knows, I continue to be informed and express myself to the best of my ability.



Top. Oil and Acrylic on panel 2017