Home' Trinidad and Tobago Guardian : April 30th 2013 Contents Continued from Page B1
even orange. He calls it "chiseling" the
board, which brings our conversation
around to sculpting and the recent loss
of fellow artist, the German sculptor
who was based in Tobago, Luise Kimme.
He has dedicated this show to her mem-
ory, as well as to one of his major sup-
porters, his mother Jean.
Lovelace's rudimentary method pri-
marily entails using video and/or still
photography of himself and one or two
other models to inform the figurative
drawings. However, his application tech-
nique is varied. The process may begin
with the application of the water-based
(pigment) paint, "a play of colours," in
a fluid freestyle, a sort of "stream of
consciousness" applied to painting; then
he will return to the piece in a slower,
more studied manner, adding lines and
colouring areas with layers of paint. The
latest work seems to have fewer layers
than those in the previous exhibition.
The application of the paint is more
translucent, the subdued palette at times
broken by lines of bright lines of colour.
At this point he may or may not intro-
duce a figure into the piece. In contrast,
he may reverse the process and begin
the painting with an outlined figure and
then build on this.
"Recently, I have rediscovered the
work of British artist John Coplans. In
the 1990's he made a series of brave
and honest black and white photograph-
ic depictions of his own naked aging
body. I have been often moved by the
intimacy of his self-portrayals as well
as by the formal qualities of his com-
positions." He shows me the piece Green
Back as an example of this.
"Closer to home, I really enjoyed
Eddie Bowen's last exhibition at Medulla
gallery. Each of his works is a journey,
dense and intricate. And I have always
admired his drawing ability."
Lovelace also spoke of his admiration
for Jackie Hinkson and spoke of his
commitment to developing a routine of
drawing/painting daily in the studio.
And indeed, both Bowen and Hinkson
are master draughtsmen. But it seems
that in many of the local art exhibitions
of 2013 there is almost a dismissive atti-
tude towards the discipline of drawing.
Instead, there is a rush towards pro-
ducing unedited, unresolved works. The
move towards sensationalism over sub-
stance, the dismissal of patient appren-
ticeship, of understanding the anatom-
ical facts before rushing to distort, is
like an architect placing the luxury fin-
ishes on a building without having any
knowledge of the construction of a solid
foundation. A sophomoric view of "Oh
gawd another coconut tree" prevails
and is tantamount to asking why did
Cezanne paint so "much fruit," or Gau-
guin "so many coconut trees" or Lucian
Freud "so many dogs"?
Lovelace explained recently in an
interview with Marsha Pearce for ARC
magazine that Lovers was conceptu-
alised on a multi-layered "broad reflec-
tion related to a kinship or love' that
I have maintained with painting and
the language by which painting com-
Has he made the link?
Through experimentation with colour,
texture and pose, the 69 or more works
on display are an exploration of many
themes and archetypes. Although some
of the works may seem unresolved, oth-
ers reflect a robust composition and
"I feel my approach to making art
reflects a desire to remain open and
malleable within the ever-changing
nature of culture," Lovelace counters.
"Our cultural evolution is marked by
shifts and changes; developments in
language...in my case, visual language.
I have always felt a keen desire to remain
attentive to how ideas are being
expressed in a society
Guardian www.guardian.co.tt Tuesday, April 30, 2013
'What interests me is not what
is obvious or illustrative. Seeing
the figures not in fixed
unreactive ways, but trying to
unlock fresh ways to
characterise and imagine them is
Broad reflections on kinship or love
Love, Mystic, Drum 2013 by Che Lovelace. Oil and pigment on board 30x25in.
Cool Down the
Pace 2013 by Che
on board 25x30in.
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