Research: Painting/Printmaking - Interview with Mandy Payne, artist

 Research: Painting/Printmaking - Interview with  Mandy Payne, artist

Introduction 

I have previously identified Mandy Payne of significant relevance to my practice as she is an artist with a primary interest in portraying the regeneration of inner city environments and the transitory nature of urban communities. Her subject matter therefore links with my interests in how landscapes are changed by human activities.

 

Mandy Payne, On Death Row

 

Personal Details

Born: 1964, Pontypool, Wales

Mandy has had an interesting career. Prior to 2012 she had a 25 year career as a Dentist in the NHS Community and Hospital Dental Services

In 2013 she gained a BA (Hons) Fine Art (First Class) degree at the University of Nottingham and in 2015 she was awarded a 2 year Fellowship to study stone lithography at Leicester Print Workshop under the tutelage of Serena Smith.  

Mandy has held solo exhibitions and has also been included in group exhibitions at several galleries and exhibition venues both nationally and internationally, including the Herrick Gallery (London), Huddersfield Art Gallery, Bowes Museum, Jiangsu Art Gallery (Nanjing, China), Menier Gallery (London), Walker Art Gallery (Liverpool), Bankside Gallery (London), and National Museum of Poland (Gdansk, Poland).

Mandy Payne, Express Excess

Background Information

Mandy is a member of the Contemporary British Painting Group. Works from her series studying the housing estate of Park Hill, Sheffield show its dilapidation and Brutalist architecture and feature in private and public collections. She has won multiple awards and  received many commissions. Her work has been selected for the John Moore's Painting Prize (2014 & 16), the Royal Academy Summer Exhibition (2014 to 2018) and the Threadneedle Prize(2013). In 2017 she was noted as an artist to watch in the Observer/Guardian Rising Stars list.

Mandy is also interesting because of her innovative use of materials. In particular, she often paints directly with aerosols on to concrete. As a painter and printmaker, she works on a range of surfaces including paper, concrete, etched aluminium and discarded marble work surfaces or floorboards salvaged from the derelict or decommissioned sites she is depicting. She creates stone lithographs of her drawings and her painting materials include various combinations of aerosol paint, roofing sealant, acrylic and lithographic crayon directly onto board or her purpose made concrete slabs.

Much of my practical research so far has included experimentation with different materials and techniques, so I was very pleased when Mandy agreed to be interviewed, especially when she is in so much demand.

 

Mandy Payne, Golden Lane 

 Interview

General:

Are you inspired by particular artists (past or present)? – If so, who and why?

My work is inspired by loads of artists both contemporary and historical. They include: Georgio Morandi, Euan Uglow, Richard Diebenkhorn, Prunella Clough, Emile Nolde, Egon Schiele, Kathy Kollowitz, Wilhemenia Barnes Graham, Ivon Hitchens, David Hepher and George Shaw.  
I think they are all linked by their strong use of line, draughtsmanship qualities and colour although some are more abstract than others.
Georgio Morandi for his muted palette, his simplicity, his repetition of forms, his use of negative space.
Euan Uglow/ Wilhemenia Barnes Graham – their use of geometry and line and almost mathematical approach.Emile Nolde – (particularly his vibrant watercolours) and Ivon Hitchins for their bold use of colour

Egon Schiele / Kathe Kollowitz – their rawness and expressiveness which is so powerful, almost brutal

David Hepher – his subject matter, originality, use of materials and scale 
George Shaw – subject matter use of materials – sheer skill  

Are you interested in any artistic movements or theories – if so, what and why?

Bauhaus / Modernism / Vorticism/ Futurism 
For their pioneering radicalness/ simplicity / forward thinking 

Do you aim to make a point through your work e.g. political/social/ environmental? If so, how?

 

Mandy Payne, Paradise Lost

Yes, I do, my work focuses on gentrification, the urban landscape in transition, the housing crisis, lack of investment by this government (and previous ones) in the provision of adequate social housing. I record places before they are lost with a particular emphasis on estates. I am quite careful in my titles of work and hope that gives some window in to viewers to the underlying political message. 

Have you been influenced by your background or surroundings? If so. How?

Yes, I think every artist’s background informs their work. I am a Northern artist from an ordinary background although I have never lived on any of the estates that I depict. This is a second career for me as I spent 25 years in the NHS prior to working as a full time artist. I sort of rode two horses for many years trying to build up my arts practice as I worked part time. In the NHS I worked in quite socially deprived areas and many of the people I cared for were on the margins of society (many with learning disabilities and largely overlooked in many ways by society). I think this is why I tend to gravitate to the places I do.

 

Mandy Payne, Deeply Divided 

How would you describe your own “personal artistic voice”?

I am interested in the materiality of works, textures, the haptic quality of surfaces. Also, the geometrical and draughtsmanship quality is important, as is colour.

How do you promote yourself as a Professional Artist? Do you have any advice?

In the beginning never say no to anything! As you progress you can be more selective. You never know who might see your work and where that might lead…

I entered lots of open competitions when I first started out, if successful it gives wider exposure, you may as well at openings meet fellow artists which could produce further collaborations. Also don’t let rejections get you down – be tactical and selective in what you apply for – who are the judges are is important. Also just because you’ve not been selected for one competition doesn’t mean the same work wont get into something else,
Have a professional website -It’s often your first port of contact.
Always be professional in your dealings with people, prompt response to emails, consistent pricing etc.
Be true to yourself don’t do something unless it feels right- always follow your gut instinct

 Practical Painting/Printmaking):

Do you specialise in a particular medium or mediums?  -If so, what and why?

Printmaking – over the years I have experimented with most types of printmaking but now focus on stone lithography. This modality really suits my practice as drawing is at the root of all I do. I did a 2.5 year Fellowship in stone lithography at Leicester Print Workshop (approx. 200 days learning the process with another artist and expert Lithographer Serena Smith) 
Painting – again have experimented with most media – but tend to use mixed – oil, acrylic spraypaint. As I said earlier I like textures so often use other substances like dental plaster, roofing sealant etc and embed other materials in them to alter their surface quality. (A legacy from making collagraphs – I find my printmaking feeds my painting and vice versa)

Please describe your way of working and why e.g. do you work from observation, memory, photographs or in some other way?

I work from observation, drawing and painting in situ but mainly from photographs (not studied photos – just snaps taken on my phone quickly. I am often taking snaps of people’s homes and so find a phone camera more discreet and less obtrusive than using a ‘proper’ camera.)

Does colour play an important role in your practice?  - If so, how?

 

Mandy Payne, Priced Out 

Colour is really important to me – Although many of the places I depict are quite bleak I like to find some colour in order to lift them.

Do you think that monotone can be effective? If so, in what ways/ circumstances?

Yes I think monochrome can be effective (especially in printmaking) and I love the works of John Virtue which are monochromatic and really atmospheric and expressive (although that may also have something to do with the scale as well as the palette). Even in my lithographs though (which are often black and white) I like to add a splash of colour by either using chine colle or another plate or monoprint.

Can you describe how you achieve mood or atmosphere in your work?

I think the textural quality of the concrete helps and also the spray paint gives the work quite a diffuse quality.

 

 

           Mandy Payne, Ripped the Heart Out

How do you relate your work to the viewer?

I hope the viewer will connect to the materiality of the works but I don’t think it’s my place to be prescriptive. Each individual viewer will respond differently and individually. I think my work has a very niche market, some people really get what I ‘m trying to say, others think its bleak and don’t get it at all. 

Curation:

What do you consider to be the main considerations in curating an exhibition?

That the work should be cohesive, coherent and connective. Ideally with an underlying narrative. I always think its good as well to give work plenty of space 

What do you think are the most important elements in an art exhibition/gallery from the point of view of the experience of the viewer?

That they should have enjoyed the experience, that it made them think, that it might have changed or reinforced their viewpoint. That it exposes them to new insights/ experiences.

Mandy Payne, John Moore's 2014

More information about Mandy Payne and further examples of her work may be seen on her website:

 https://mandypayneart.co.uk/

 Conclusions and Summary 

Mandy's responses to the questions really clarified her ideas and working methods. I think that her use of a diverse range of  materials relevant to her subject matter provides authenticity to her work. I have tried this on occasion - such as the use of steel for some of my images of the cement works, which proved to be quite successful. I feel that I can build on her ideas and adapt them to my own needs.

 I was interested to hear her views on the use of colour and the way that she uses it in a minimalistic way to accentuate certain parts of the image. Again, I have tried this during my practical research element and can explore this further. There are many good examples from her paintings where she has used colour very effectively, some of which are illustrated above. I liked to hear that she sometimes uses chine colle to provide colour in her prints and also uses another plate or monoprint. These are all ideas that I intend to develop.

 Mandy's list of artists who inspire her are revealing. Some of the artists are the same as those I have already been interested in - such as George Shaw. Others, whose names I do not recognise, will give me further scope for research. 

Her hints and tips as to how to develop my practice, including the development of my own website, will help me, as will her comments on curation. I agree with her views on the experience of the viewer and aim to expose them to new insights/experiences.