PF: Who or what has influenced your work the most?
So many people. Marlene Dumas, Ambera Wellmann, Lynette Yiadom-Boakye and Paula Rego are incredibly reliable influences. But a year ago, Rubens and Titian were somewhere within that mix. That’s only to name a few painters, not to mention other artists, and the special conversations I’ve had with various people.
So many people. Marlene Dumas, Ambera Wellmann, Lynette Yiadom-Boakye and Paula Rego are incredibly reliable influences. But a year ago, Rubens and Titian were somewhere within that mix. That’s only to name a few painters, not to mention other artists, and the special conversations I’ve had with various people.
PF: Walk us through your creative process?
Stretch the canvas, two layers of primer, one layer of ground, see where the forms are landing, try flipping it round, see new figures, build, rub away, build more, write, try not to judge in the early stages, build, rub away, build.
PF: What do you want people to feel or take away from your art?
I want to allow them, encourage them even, to feel comfort in their discomfort and not shy away from potential confrontation.
PF: If you could have dinner with any artist who would it be?
Right now, I’d choose my great-grandad, Heinz Worner. He was a sculptor in the 60s in East Berlin, and fled to London with my grandad just before the wall was put up, but then went back to East Berlin. I’d want to ask him what it was like making work within such a volatile environment.
Right now, I’d choose my great-grandad, Heinz Worner. He was a sculptor in the 60s in East Berlin, and fled to London with my grandad just before the wall was put up, but then went back to East Berlin. I’d want to ask him what it was like making work within such a volatile environment.