Captions for Under the Skin. 26th Jan 2016 Penny Bearman
When I see Lucy’s pomegranates, and particularly when I saw her painting the pomegranate, she reminded me so much of Mum; the same desperation to paint had brought her to tears, and she felt she was choosing something to paint, out of necessity to make something happen and out of desperation to find something to make painting possible.
When I see the painting that resulted I feel overwhelmed with its beauty and extreme colour, pretty much what we felt when we returned from the compulsory shopping trip or walk that allowed Mum to paint the red onions.
I feel that Mum and Lucy have got a lot in common, I felt that Mum was more “herself” when she was expressively reacting to a moment, either drawing or painting the huge abstracts. I didn’t like it when she felt she had to paint what she thought people wanted to see, I hated to see her compromise.
When Lucy worked for her degrees and at school she got baffled by the brief she was given sometimes. My question to her was to ask what she wanted to do. When responding to that question she always went away and produced staggeringly fantastic work. Strangely it wasn’t particularly hard to fit her spontaneous work to the brief. It always went down well, and Tutors always felt she had come up with a uniquely oblique view of the subject.
In conclusion, I think to respond emotionally within art is essential, it is the only essential ingredient, and the only true test of art, whether it is emotionally honest.
Strangely this thought does not always synchronise with current thinking about art. Grayson Perry suggested in a recent tv programme that art is being produced to create good journalism, and that in translation into words there is a danger that emotional honesty is overlooked.Press Release