James Johnston in his studio. Photo: Richard Barr
James Johnston was born in England in 1966. For 30 years he’s
toured the world with various bands including Nick Cave’s
Bad Seeds, Faust, and his own group Gallon Drunk. Recently
James has begun to turn his attentions to painting. A year ago
he was on tour with PJ Harvey and began to make work in
various hotel bedrooms. Over the last few months Johnston’s
neo-expressionist paintings have been exhibited at Gallery 64a
in Whitstable and at The Art Academy in London. Harry Pye
visited James in his studio to ask him about his views on art.
Do you think painting made you happier or given
your life more meaning?
I try to paint on a daily basis, around seven hours a day
from Monday to Friday, as at the moment I’m able to. I
enjoy getting lost in the process, so when I lock the door
to leave I do feel as if I’ve been somewhere, maybe the
same sort of feeling you can get coming out of a cinema.
I don’t know about having more meaning, but occupying
that time in your imagination is certainly pleasurable, even
when it’s been a frustrating day and more of a struggle.
Are there any paintings you made from a year ago
that you now dislike or feel embarrassed by? Or are
all your paintings like your children?
I think that anything I’d actively dislike was destroyed at
the time or painted over. I worked a lot on paper a year
ago and there are piles of them in the studio but I hardly
ever look at them. Looking back at an older picture usually
more reminds me of what was happening at the time
I did it, or where I was (if it was painted before I had the
studio). The naivety or failure of some of them isn’t exactly
embarrassing, after all - it’s just me looking at them, more
just part of a line of work that has its inevitable ups and
downs, and how certain failures of frustrations often then
led to subsequent better pictures. It’s worth remembering
what went wrong sometimes.
Is there a perfect level of fame for an artist - should
an artist (unlike an entertainer) not care about
money, fame, and Likes on Facebook?
A good level would be to have sufficient support to
work as much as you can or need to. Having someone
show enthusiasm for your work can spur you on too, help
get you over endless hurdles of self-doubt. But regardless
of all that, the act itself can still be a transportative thrill, if
only for a moment even if no-one’s going to see it, enough
to drive you on. However we all need to eat and materials
can be expensive, so selling work can make a world
of difference. But I think it also depends on the artist in
question, and what they need emotionally to carry on, or
what they ultimately want out of it.
Are there any contemporary painters making work
like you - who is a kindred spirit?
I see a lot of kindred spirits out there, amazing artists
I admire and whose work is a thrill to see - but whether
or not their work is like mine is another matter, and I’ll
probably only inadvertently offend someone if I say their
work’s like mine!
You have an interest in Folk art / Art Brut - paintings
that are often funny. Is it good if a painting
makes you laugh or is it a sign of a bad painting?
Lots of paintings make me laugh, including quite often
my own. Surprise, humour, bafflement, wild incromprehensibility,
unexpected boldness and a singular view you’ve
never considered - all these things make me laugh, and not
because a painting is “bad”. The surprise of the unknown
or unfamiliar. Mostly though, the folk art that I like has
a directness and lack of guile, gets to the centre of things
and is full of heart.
What is art?
Rather a big question! An intentional mark or object
created to cause emotional or spiritual response in the
viewer. A creative act of self-expression that becomes universal
by being viewed by someone else. Something out of
nothing, a depiction of the human psyche? I’ve no idea.
Equally as hard to work out is what isn’t art. My favourite
art is probably the cave paintings in Lascaux, France - but
I’m sure it’s arguable by someone, that could be bothered
to do so, that they aren’t technically art by definition, so
maybe it’s also a subjective thing.
Did your family home have art on the walls / were
you taken to museums - what was the first art work
that had an impact on you?
We had some fairly normal stuff on the walls mostly,
apart from paintings by my grandmother, which were
wonderful. She was self-taught, and usually painted on
board, and often very large. Fantastic landscapes based
on holiday photos, portraits of dogs we’d met, flowers,
pictures of toys come to life, they were all over the house.
Beautiful pictures that brought life to the walls.
I remember going to the Hayward for the Picasso’s
exhibition in 1981, probably with my mum, which I
remember being very exciting, and the first big exhibition
on my own was German Art in the Twentieth Century,
at the Royal Academy in 1985 - when I was 19. Mostly
as a family it was places like the Imperial War Museum,
The Tower of London, and The British Museum, which
I also loved. Probably the most exciting was going to the
Tutankhamun exhibition as a small child in 1972 - the
whole experience was so thrilling, the queues, the security,
and then the incredible and magical looking exhibits.
I would have been about 6 years old. Beautiful and
strange objects taking you to another world you couldn’t
understand.
HARRY PYE
is a writer, curator and painter who lives and works in
London.
See also his postcards from London, São Paulo
and Leeds in previous issues of Epifanio.
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