In Conversation: Brendan Stuart Burns
In this latest In Conversation feature, Welsh artist Brendan Stuart Burns talks to us about his upcoming Lund Humphries monograph, The Space Between, written by art historian, writer and curator Ian Massey...
Q: How did the book project first come about?
A: It was my gallery dealer and great friend Gordon Samuel (Osborne Samuel Gallery), that first floated the idea looking to bring together a comprehensive overview of my career to date. We met with Nigel Farrow in my studio in August. He immediately connected with the works that were in the studio, its process and history of influences and travels. We wanted to present an overview of the influences and philosophies that had threaded through many, what at first seemed different subject matters, but actually were intrinsically connected.
Q: How was the process of working with author Ian Massey?
A: Ian had previously written an essay for ‘Edging West’, a catalogue for my one man exhibition at Osborne Samuel Gallery in 2019. He was such an inspiration, connecting immediately with my processes of research and studio practice. He writes with humility, empathy and deep knowledge of the wider historical references that fuel my concepts. This combined with his poetic, sensitive and accessible writing language was such an obvious choice.
Q: Did you enjoy being interviewed? Were there things that came up during this process which you didn’t expect?
A: Ian’s interviews, both real in terms of studio visits as well as numerous zoom and telephone calls were so full of deep and pertinent conversations rather than simply questions. I loved the way we were able to resonate between the historical and contemporary issues in ‘painting’ in particular. With such a book that covers other influences such as personal upbringing, religion and spirituality, the environment and the philosophical; conversations meandered effortlessly making connections throughout. At times I felt like Ian held the mirror which reflected back, making obvious the threads that weave between various subject matters during my 40 year career since leaving the Slade School of Art in 1987. Making sense of this process was indeed enlightening.
Q: Growing up, what drove you towards the visual arts, and to eventually pursue a career as an artist?
A: I so wanted to be an architect in my early schooldays, but quickly discovered that both math and physics were far more important than art. The art room was my safe place, it felt the natural and most personal space, so it was inevitable that the next step was to undertake a Foundation course. However, upon accepting a place on the Foundation course, my headteacher pulled me into his office with concern that I was throwing a ‘great career in geography away’!! Ironic really, that upon reflection now, I never really gave geography or geology up! I just used art as the process to ask questions of these two interests which have continued throughout.
Q: What did you find most surprising about the process of making a book?
A: I have been fortunate to have been able to make a book titled ‘Glimpse’ before in 2012. This was so different though, it focused only upon a year-long artist residency at Oriel y Parc in St Davids, in partnership with the National Museum Wales. However the opportunity to work on a book which covered my 40 year career to date, with both such a respected publisher as Lund Humphries and writer/critic Ian Massey, was incredible, every artists dream come true. Daunting, challenging, questioning, and anxious thoughts as to my self-worth always sat on my shoulder throughout. I am incredibly humble and grateful for this opportunity to now see what probably might well, be my biggest contribution to making paintings in one book. One of the most challenging aspects was to select 100 illustrations only, there would be so many to leave out! Selection was made so much easier however with the aid of Ian’s critical eye. We needed the visuals to lead you through the narrative of the book, without the obvious and literal supporting text; they both needed their own voice so to speak. Design and layout were crucial, Paul did an amazing job respecting ‘space’ and ‘rhythm’ something which in my work holds the integrity of process and subject. The book breathes, each pages offers a new experience, its musical almost in its composition. Faye brought such intelligence and professionalism to the many zoom editorial meetings, effortless and an absolute pleasure.
Q: How did you find the experience of visiting the Reprographics House with our Head of Editorial, Design and Production, Sarah Thorowgood?
A: What a day!! Coming to London to review the proofs and meet Sarah and Ian. This was now real, not on screen, as near to the book as we could get before binding. A mix of nerves and excitement. Sarah was as excited as we were, as each double page was stuck up in the ‘daylight’ viewing booth, there were quiet but distinct gasps of joy and connection with the quality of image and design as we worked our way through the entire book. Having that opportunity to review and tweak any pages that required adjustments, being able to then see a reprint was incredible. Thank you Sarah and LH, such a privilege.
Q: Are you pleased with the materiality of the book and the representation of your work?
A: A book is special, unique. It’s a journey through narrative within text of course, but also the tenderness and interaction in turning pages. That physical connection with the weight of the object, the smell of paper and ink, the sound of turning pages, the ability to go forward as well as backwards, are so critical in trying to fully communicate the paintings themselves. The first touch and interaction with the slightly waxed feel of the cover is a sensual one, this is the level of connection in materiality we wanted from the very beginning.
Q: If you were hosting a dinner party for artists which 3 guests (past or present) would you invite, and why?
A: Wow!! A dinner party for 3 artist guests. That’s so difficult as artists can be difficult, highly introverted or brimming with self-confidence and self-importance. I’m not quite sure how these would all get on, but in no particular order; the first is Willem de Kooning. I would love to talk to him about a statement he made describing himself as ‘a slipping glimpser’. That really resonated with me, working between the figurative and abstract, his love of paint and its fluidity.
Then it would be Frank Auerbach, an influence since early college days. I would love to talk to him about the power of drawing as a tool to almost ‘geologically’ peel into ‘the breathe’ of his sitters. Moving on to the relationship between drawing and painting, mark-making in thick oil, sculpting, that relationship between construction and destruction.
And finally, Howard Hodgkin. I did meet him once in the street near his studio, I couldn’t resist the opportunity to say how much I loved his exhibition at the Tate at the time. I would never normally approach an artist like this without being introduced, but I’m glad I did. He was so so humble and grateful. I would love to talk him about his love and collection of Indian Miniature paintings, and how they feed into his work as influence or not? Also his statement ‘ I re-present not represent’ in his work. The power of colour, mark and gesture to emotionally connect with experience and memory. What I would cook is another question altogether, how to cater for a Dutch American, German English and British?? So much conversation and cross overs, maybe a cheese board and wine would do it?
– Thank you, Brendan, for talking with us!
[Interview with Meris Ryan-Goff]
Brendan Stuart Burns: The Space Between by Ian Massey will be released on 10th November. Pre-order now!
