Thenewly-crowned SkyArtsPortraitArtistoftheYearopensup
abouthisunlikelypassageintoportraitureandwhy painting
SirTomJonesisnotunusual. Interview:RACHAEL FUNNELL10 MINUTES WITH...Duncan
Shoosmith
Why did you enter Sky Arts Portrait Artist of the Year?
I had never watched the TV show and I didn’t really know
what I was getting in to, but my godson is a big fan and he
nagged me to enter. I didn’t think it would come to anything
- I thought that I’d be rejected before the filmed rounds.
What were the benefits of entering the competition?
Well, the obvious benefit is exposure. Suddenly, after
winning the competition, thousands of complete strangers
knew something of my work. Exposure is very important for
artists trying to get commissions. There are a lot of people
out there who would like to buy or commission a piece of
art, but who are either unaware of how to go about it or
haven’t found an artist whose style they like. Programmes
such as Portrait Artist of the Year act like creative menus
for anyone looking to get a portrait painted.
What did you learn from the experience?
Comfort zones are well and truly smashed on the
programme, as every aspect of your practice is scrutinised,
filmed and interrupted. I came out the other end a better
painter. The process, stress and restraints of the series
made me cut some of the chaff from my technique and I
became a less ponderous painter as a result.
Your prize included a commission to paint Sir Tom Jones
for the National Museums Wales. How did that go?
While I wasn’t star struck as such, I was very aware that
this painting would end up in the National Museum Cardiff.
On top of that, I knew this was someone who had been in
the spotlight for most of his life, endlessly being
interviewed, which meant I was getting a very ‘professional’
Tom Jones. But, for me, the important information came
from seeing him off camera.
Observing the quiet little exchanges and seeing him in a
less formal context gave me a better chance of capturing
more than just a likeness and creating a painting that
would interest me. There were also some difficulties linked
to his busy schedule and we were limited to two sittings for
the portrait. In order to work out his face, its structure and
what connects his features I spent days in my garage
surrounded by – and staring at – photos of him. It was only
at that point that the madness of the situation hit me.
Which artists do you admire most?
Any artist who puts themselves through Portrait Artist of
the Year gets my complete admiration. Whether they sink
or swim, they’ve put themselves in the firing line and,
considering most artists’ delicate confidence, that’s a
brave step. Beyond that Lucian Freud, Frank Auerbach and
David Hockney have always been my big three influences.
I was blown away by Freud’s show at the Whitechapel
Gallery [1993’s Recent Work].How long have you been a portrait painter?
I started painting when I finished my degree in graphic
design, but it was never a deliberate decision to get into
portraits. By chance I ended up working on BBC’s Changing
Rooms and through that I was commissioned by Laurence
Llewelyn-Bowen to paint a family portrait for his Home
Front programme. That led to a dozen or so commissions.
Having said that, I’m not even sure I am a “portrait
painter”. I paint heads but I rarely add any detail that gives
clues to the sitter’s character or life – my interest is solely
the head. Through the pose, the angle and the
brushstrokes I hope to give a feel of that person.Do you work exclusively in oils?
Predominantly yes. When I taught myself to paint, I would
pore over Freud paintings and try to reproduce what I saw,
although in preparation for Portrait Artist of the Year I
started to map out the head and underpainting in acrylics
because of their quicker drying time.What do you look for in a potential sitter?
With commissions I obviously don’t have a choice, but,
even then, there are certain things you hope for, such as a
strong resting face. There is always a balance to be found
in that you don’t want the sitter beaming like a Cheshire
cat, but you don’t want them looking miserable either.
My favourite sitter is a young lad of 15 who I have
painted ever since he was a baby. I know his face so well
and I have a pretty good feel for his character. There is no
pressure on each painting, no financial weight, and his face
gets better every year. Whenever I have a gap between
commissions, I try and paint him. It feels like a holiday.
http://www.dshoosmith.co.ukRIGHT Duncan
stood beside his
portrait of Dame
Cleo Laine