Prolonged looking has become a really important part of my practice. On the Venus Frigida It's such an unusual picture because his portrayal of Venus is unlike any other — we're used to seeing Venus looking languid in warm surroundings and in this painting she's crouching and shivering in a glowering landscape. And then the structure of the picture is very complex, firstly because Venus's back is to the viewer and also because the three figures in the painting create an arc, so the geometry is very interesting.
When I realised this, I noticed that in my own paintings, the shape of an arc had occurred — when you engage with a picture in that way I think it begins to take over; the more aware that you are of its spatial complexity, the more it has an effect on the paintings that you're making. So the paintings in the show have been very much influenced by Venus Frigida.
On commenting upon one's own work When you're in the studio, it's so solitary. You go in there every day and gradually as the paintings are completed, you realise that you're creating a world of your own, surrounding yourself with the contents of your own mind, and that there's a conversation going on around the walls. But once the paintings leave the studio, they take on their own life.
They're open to other people's interpretation and I think that's part of the magic of paintings. FR EN. Browse by Themes. Prix Aware. A Place for Women Artists. Interviews and reports. Documentation centre. Alison Watt. A blank sheet of paper peels away from a monochrome background; a black hole sinks in the middle of a white canvas. This is Cupid, yes, but drained of vitality — as if passed through the great photocopier of modernity, and oddly anaemic for it.
The reason? She is an editor at The White Review. For the last video in the series on creatives and their home cities, the acclaimed South London-raised artist shares a slice of her home life in Leyton.
At Baltic Centre, Gateshead, the Lithuanian artist duo open their first UK institutional solo with a quasi-operating room featuring a giant mechanical doctor. At Oslo's Fotogalleriet, the artist explores how the motions of avatars influence the movement of our bodies. More recently, her painting has focused upon the relationship between the genres of portraiture and still life, exploring the possible narratives around everyday objects.
Across the last two decades, Watt has been exhibited nationally and internationally. Her work is held in many important public collections. Alison Watt became fascinated with making and looking at paintings from a young age, and today she is a champion for the importance and unique nature of the medium.
She developed her art in the s when, focusing on the human figure, she worked on self-portraits and studies of life models in the studio. Towards the end of the s she became interested in painting folds of fabrics and draperies of the kind often used as props by life models.
The absence of the human figure marked an important shift in her subject matter.
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