Meeting Susan Gunn

I am due to meet Susan Gunn at the opening of her new exhibition at Mandells gallery in Norwich. I look around. The canvases are stylish. The whole show is calming. The press dossier tells me that Susan was born into a Bolton mining family in 1965 and that she gained an Art Degree at Norwich. It details countless exhibitions, commissions and prizes including, in 2006, the Sovereign European Painting Prize.

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Friends and admirers arrive. Journalists vie for Susan’s attention. She has that rare quality of being able to soak up admiration whilst making it all feel like friendship. Fortunately for me, she is generous with her time. I tell her that Talking Beautiful Stuff is about the narrative behind beautiful stuff that creative people do. She allows me to dig a bit. Her own narrative of the journey from Bolton to Mandell’s is recounted with lucidity and modesty. It is an eye-watering story of talent and success winning over loss and sadness.

A “special gift for art” was noticed by a school teacher. She went on to, and soon dropped out of, Bolton Art School. She set up a successful wedding dress company. She fell in love. She moved to Norwich. She married. She became a student again. She became a mother. She lost her daughter. She suffered an immense grief. She managed to pick up both herself and her family life. She then returned to painting.

Her most recent accomplishment is a commissioned 20 metre work for the Enterprise Centre at the University of East Anglia (“one of the greenest and most sustainable buildings in Europe.”) “Terra Memoria I S,” a smaller version, is part of this exhibition.

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“Terra Memoria I S,” Natural pigments, wax and gesso on canvas 200 cm x 40 cm (approx) 2015

I ask Susan what three words apply best to her work. “Earth, infinity..” she reflects for a few seconds “.. and death.” She talks about how her father couldn’t remove all the coal dust from under his fingernails, the near-spirituality of whiteness, her ritual polishing of a certain grave stone and how, with her work, she aims to forge a link between age-old techniques, things primitive, nature and contemporary painting. Everything is rational. There is no artspeak.

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“Divided Ground: Square II,” Natural pigments, wax and gesso on canvas 150 cm x 70 cm (approx) 2015

All her paintings carry a visual theme of natural colours with polished surfaces riven with cracks. The appeal is immediate; some fundamental matter is fractured but nevertheless holds together. There is a promise of recreation; of good things. The contrast between the clean crisp lines, the colours and the organic, complex forms is mesmerising. I am drawn into a kind of imaginary space where Susan insists that I stop and reflect on the cracking paint of a lovely old shed or sun-dried riverside mud. My imagination advances; the cracked paint and the fissured mud are cleanly cut into precise rectangles on her studio floor.

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“Divide Ground: Orchid Yellows,” Natural pigments, wax and gesso on canvas 70 cm x 70 cm (approx) 2013

I ask Susan about her influences. Top of the list is Alberto Burri who executed a number of “cracked” paintings in the 1970s. The process that Susan has mastered involves age-old materials and techniques. She employs a traditional gesso made of chalk and an authentic glue binder. Its propensity to crack is usually regarded as an undesired flaw. However, she remembers the thrill when she first noticed the complex beauty of fissures appearing in her paint. This was her moment. This was a recall of past, earthy and heartfelt things. Since, she has learnt how the apparent randomness of the cracks in her gesso can, to an extent, be pre-determined by the tension in the canvas, the amount of water in the mix and the ambient room temperature. The natural pigments include coal dust (unsurprisingly,) cochineal, lapis lazuli and suffolk linseed. The final stage involves grinding and waxing the surface by hand.

As we talk, I look around at her paintings. The highs and lows of her life, the evolution of her process and the aesthetic outcome of that process are three intertwined and interdependent strands of one uplifting narrative; one strand can only be appreciated in the light of the other two. Inevitably, I become another admirer of Susan Gunn and her work. Meeting her is a rare privilege.

Celebrating the 2016 Rio Olympics with “naïve” Brazilian paintings

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Fabio Sombra, Untitled Acrylic on board, 54 cm x 72 cm, 2000

I just love this picture! Fabio Sombra painted it with the idea of the Olympic Games in Rio on a far horizon. At first pass, you might be forgiven for thinking it is done by a talented child. At second pass, you would notice the graded sky, the perfect composition, the balance of colour and the convincing anatomical pose of each athlete. On further consideration, you would take in the multiple ingenious details from the cameraman at the foot of the Olympic steps (who, confused by the abundance of scenes, is pointing his camera at one thing whilst looking at another) to the two little Red Cross guys helping an injured and grimacing athlete off the track. Of course, Brazil wins!

This is no childish work but there is an innocent charm about Sombra’s painting. It is naïve! It makes me happy. It has a James Rizzi appeal. It features on the invitation to the current exhibition “Rio Naïf et les Jeux Olympiques” at Espace L.

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Gerson, Untitled, Oil on board, 24cm x 19cm, 1994

I call in at Espace L. Its founder, Laeticia Amas, believes that naïve Brazilian paintings have not been shown in Geneva before. I find the whole narrative fascinating and can’t help smiling and swinging along with Gerson’s two happy-cool-clown-trapeze artists.

As an Olympic celebration, the exhibition is set to travel this year to other Swiss destinations with close collaboration between Espace L and the Museu Internacional de Arte Naïf do Brasil (MIAN) in Rio, the Basel-based foundation Brasilea and the Consulate General of Brazil in Geneva.

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Magda Mittakis, Untitled, Acrylic on multiple boards, 24cm x 19cm each, 2015

According to Jacqueline A Finkelstein, conservator of MIAN, the term “naïve” was originally applied to the work of Henri Rousseau (1844-1910) who started painting his signature jungle scenes in his forties and famously said he had “no teacher other than nature.” This glorious montage of small paintings by Magda Mittakis shows just how enduring Rousseau’s influence is.

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Barbara Deister, “Brasil, campeo natacao” Acrylic on board, 30cm x 20cm, 2015

The exhibition is also dedicated to the paralympics. Barbara Deister’s naïve gem shows amputees on the medal podium for a swimming event, an ecstatic crowd and – inexplicably and wonderfully (or maybe just naïvely!) – a white duck in the pool! And of course, Brazil wins! It’s fabulous!

Bravo, Espace L … and good luck with this ambitious project!

The exhibition runs until 5 March.

Art Genève 2016…. Imagination and Class

This is a guest post by Bonnie Golightly.

Those guys from Talking Beautiful Stuff found me an invitation to the grand opening of Art Genève 2016. “Go and check it out. It was great last year. Write a few lines for us. Just say what you like….. and why you like it!!” For a girl from the country who was “good at art” at school, this was an opportunity not to be missed. So I squeezed into something that was once sleek, piled my hair up, applied scary lipstick and, on worringly high heels, teetered off to Palexpo on the number 5 bus.

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Los Carpinteros “Duo de Congas,” Mixed media, 2015

The first thing that caught my eye was a pair of tom-toms melting on the floor. Brilliant! It made me laugh. I expected some poor percussionist to come running in realising that he had left his source of income on a hot tin roof. But how do you think up something like that? Well, Los Carpinteros are Brazilians!

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Michael Geertsen “Mantelpiece,” Earthware, 2012 / 2015

The second thing that hit me was the people. Thousands of people! And not just ordinary people! This was moneyed Geneva out in force. More silicon and silken mouchoirs than you could shake your Jimmy Choos at! A tidal wave of little black dresses on long tanned legs! Somehow, Geertsen’s “Mantelpiece” caught the mood. It smacks of something domestic, seemingly superfluous and discarded but nevertheless oozing a luxury beyond any homeware that I’ve seen.

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Beat Zoderer “Lotbild,” Acrylic and wood on canvas, 91cm x 91 cm, 1998

I adore this “painting” made of coloured wood blocks by Beat Zoderer. I wanted to run my nails on it. Visually, it’s surprisingly homogenous; like an overblown pixellated photograph that’s been rained on. Chunky! Soothing! Clever! I was beginning to enjoy “contemporary art.”

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Joly Alexandre “Magnetic fish” Mixed media (including preserved Diodon Hoioanthus, piano wires and piezo speakers) 2015

A nice man with a spotted tie spotted me spilling champagne in astonishment when I spotted a dried, poisonous, spikey puffer fish pierced with piano wires each ending with a brass disc. Mesmerising! More so when said nice man invited me to lean in close to the suspended beast. Out of its mouth (the fish’s mouth, that is) came calming tinkly music!!! What a whacky clash of concepts all ending up with something that I found more than intriguing and strangely beautiful.

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Kehinde Wiley “Portrait of Jose Alberto de la Cruz Diaz,” Oil on canvas, 183cm x 152cm 2016

I guess my tastes are more or less conventional which is why I admire the realism of Wiley’s’ “Portrait of Jose Alberto de la Cruz Diaz.” The portrait itself is faultless and honest but what frys my taters is how Wiley has incorporated the subject into the lushy verdure of the wall paper design that should, but doesn’t really, serve as background. Uber cool!

Art Genève is huge and rather intimidating at the point of entry. What I expected was stuff that claimed to be contemporary with little aesthetic appeal; you know, soiled sheets pinned to the wall, half-burnt photos of children, broken glass in old boots etc. What I found was imagination, technical accomplishment and aesthetic appeal by the bucket. Like the clientele, Art Genève 2016 is very classy. I would even take my mum along. And I think she would enjoy it!