In search of original art forms

Press, 14 December 1983, Page 22

In search of original art forms

For veteran Canterbury painter Bill Sutton the centre of the arts world is himself.

Not from any exaggerated idea of his own contribution to art but because he believes that art experiences are personal and cannot be “borrowed.” “So many contemporary painters seem to think they have to follow in traditions. I don’t have to ride on German coat-tails or American coat-tails. My paintings are what I see. “Art experiences cannot be borrowed. It is something that comes from within yourself.” The former art school lecturer has been painting long enough to know.

He believes there is no reason to emulate other artists’ work. “There is no need to borrow art forms evolved in another environment. There is plenty of raw material to work from. Of course, we can learn a lot from other artists but we must not use them as a mine of motives to be borrowed at will.”

Painting is discovery, he says. “If it is not it is just wall furniture, dentist’s parlour stuff.” Now retired from teaching, Bill Sutton spends his time between commission work and driving about in his car. to find scenes he would like to paint. “I like to get into the car, drive out into the back country and paint. I like making sketches, although it is no longer fashionable to do so.” He paints in both watercolours and oil and when asked which he prefers, says: “Both.” Both are included in his exhibition -at

the Brooke/Gifford Gallery.

“On location” he works in water colour because it dries quickly. “I can go somewhere for a few hours, and paint what I see. While each wash dries I wander about in the shingle or look around.”

Oils are usually reserved for paintings done in his Avonside studio. “I like to have more time with oils, time to think about what I’m doing for a few hours. Oils are vulnerable for several hours and you can manipulate the painting. “I am usually more consciously formal when working in oils.” The 17 paintings in his exhibition are of Canterbury scenes. “We have plenty to paint in Canterbury. Why go somewhere else?” When he begins a painting Bill Sutton is not attempting to capture a “cut-out” of nature. “A painting has to be consciously organised within the frame of its frame. The parts have to be organised, the tones, tex-

tures, colours, directions of shapes. The painting is no •; good if they do not work » together.” ■ The choice of subject is ♦ equally important. “It’s no j good having a grand view if « the parts cannot be organised. You could have a view ‘ of Mt Cook which is an - absolute disaster . . . and I ’ have had my share of * those.” } What does a painter do £ with his “disasters”? “Dance * on them — what else?” Mr Sutton concentrates ; on land and sky forms. The ■ eight oils in his exhibition X are a series on land and sky - forms, mainly sky forms. £ What future projects has > the artist in mind? “Por- ? traits, definitely portraits,” i he says. “I have two on the * go now and four more lined X up.” j Each portrait takes about j a week of sittings. This -j. gives Bill Sutton long ? enough to know his subject £ and to be able to “take their i black soul and put it on ’<* canvas.” £