Artist Interview - Peter Davis
Name of participant: Peter Davis RSW
DOB: 07/07/1953
Career: Art teacher and practising visual artist since 1975
a) As a practicing creative or even as a student when did you begin to exhibit your work, what
were your motivations for this?
I studied on an Art & Design course at a College of Education so my ‘end product’ was to
enter teaching. However the course was validated through the School of Art at Newcastle
University so we had a high level of teaching and experience. My first exhibition took place
about three years after I qualified although I had occasional paintings exhibited and sold
through small private galleries locally. I was motivated by wanting to show my work but also
try and make a bit of money. The exhibition contained a wide variety of work and I was
offered a space in a cafe area in an Arts Centre and had to do everything….frame and hang
the work and advertise it. I sold one piece out of 30.
b) Do you believe that as a creative it is your job when creating your exhibitions to create a
unique experience that leaves people with a certain feeling or Aura that seeing an authentic
painting or illustration creates?
For me at this point there are two forms of exhibition
-
a concept exhibition where I propose
a theme or title and present that to a gallery and the other is an exhibition where a Gallery
invites me to contribute work. In the former I have more control and can initiate concepts
and hang the work myself. In the latter I have limited control as the gallery undertakes the
placing and hanging and advertising. I prefer the former as I like to present a holistic
experience in choice and placing of work.
c). Do you believe that visiting an exhibit has more value than viewing artwork online or digitally?
There’s a big difference in seeing a real artwork than a reproduction. Firstly the size and
often the textures and even the colours can alter considerably. Digital photography despite
the thousands of colours available can never match the real colours (and often can distort
or alter them….that’s worth a study on its own!) By reducing the size of an original painting
to the size of a screen or tablet is to diminish its effect. I’d known Picasso’s Guernica for
many years from illustrations in books. But the effect on seeing its actual size in Madrid
was mind blowing and has stayed with me to this day.
d) What elements do you think about when preparing an exhibit, the choice of work, lighting,
mood you intend to create, how the work is displayed?
Firstly I usually have a group of paintings I’ve chosen which fit together as a collection
either through subject matter or based on the exhibition concept. The arrangement of the
work is crucial in terms of colour and form in each piece and the size and shape of the
space it’s has to fill. Lighting is often the last element but is as important. It’s got to feel like
a show when you walk around not just a load of paintings. That’s even more important if
you are showing work with other artists.
e). Are your Exhibits inspired by other artists (Who/When)? If so what aura and experience and
impression was left on you.
I was lucky to work with a great technician on my first real solo show in the Pier Arts Centre
in Orkney. He showed my how to choose a level where the eye comfortably rested on an
artwork without any stress on the body, how to group paintings of similar and irregular
sizes and place them and different forms of hanging and even kinds of hooks suitable. He
also showed me how to spotlight a show and even use music where appropriate.I remember using all of this information in creating a exhibition called Stillness and Flow in
An Talla Solais in Ullapool. I wanted it to be a meditative journey as people walked through
the rooms. The gallery hosted a couple of yoga events by local people which I was so happy
to hear about as they said the paintings contributed to the atmosphere! I’m sure that’s the
‘aura’ I was hoping for.
f) What benefits does exhibiting Physical works have for you as a Creative?
I think it’s crucial for my paintings to be seen otherwise they are lying in a folder in the
studio. And if you’re wanting to make some money it’s important for it to be seen. Now for
some people the creative process is enough and exhibiting is unnecessary. I don’t share
that view….its a bit like writing a piece of music that no one will ever hear. It’s fine to do that
and you’ve satisfied your creativity, but it’s unfinished. An exhibition completes the journey.
If someone buys it that’s a bonus!
g). Do you believe that visiting an exhibit can leave you with a valuable experience?
Absolutely! I vividly remember seeing an exhibition of the paintings of Claude Lorrain when I
was about fifteen or sixteen and they were so inspiring that it made me want to be a painter.
And a few years later it was the Cezanne watercolours that had the same effect…life
changing experiences. And bang up to date I’ve just been blown away by some Turner
paintings from Dublin that I’ve never seen before…they are only exhibited for one month a
year. And I had to queue for a while to see them!
h) What do you think the benefits are of viewing artwork digitally or online compared to in a gallery
or exhibit?
Well, similar answers to (c) above in that there are so many elements that are missing in
digital reproductions such as texture and, most importantly, size and colour.
I). To have a career as a practicing artist, do you believe that exhibitions are necessary?
At present I feel that it’s important for artworks to be seen in exhibition though increasingly,
since Covid, art is being presented digitally by many galleries and online exhibitions are
thriving. I recently sold a number of small paintings which were only seen in online form by
a gallery. It’s acceptable now that artists present not only their physical artwork but also
high res. Digital images for galleries. Any practising artist needs to be knowledgeable about
creating good images of their work.
j). Do you believe that amongst younger generations and future creatives more work will be
Exhibited digitally rather then physically?
Think this is increasingly inevitable particularly since Covid, but also due to the increased
use of social media. I don’t count myself as a ‘younger generation’ but I have had a lot of
business promoting and selling artwork online through Instagram for example. And these
are often large paintings which buyers have only seen digitally.
One area I have avoided is crypto and NFTs which is open to scamming and doesn’t interest
me.
k). Do you believe work is less impactful if displayed digitally? and looses the Aura it may have
portrayed if displayed physically?
Yes I certainly feel that my paintings will lack the impact of only ever viewed digitally.
People have commented on how the feeling seeing the painting ‘in the flesh’ is a totally
different feeling from seeing it on a small screen. Seeing the subtle textures and coloured
layers in real life can never be matched by a 2d reproduction however high the pixels!
l) Do you think galleries will still hold importance in a modern world if so, why?
Sadly I think many galleries will be forced out of business by factors such as higher
overheads, lower footfall, higher costs for transporting artwork, framing etc. Those that
have online presence will probably benefit. Several galleries which represent my work have
increasingly done business online selling to clients worldwide as their websites can attract
a much wider audience.If you have any added comments about the topic of discussion or information you feel could be
informative to my
study, please leave bellow your answers
One area that is interesting and which I’ve had a few discussions with artists is that of
digital art and AI. This seems to be an area where some online art is heading and sadly it’s
an area which is creating its own problems. For me personally I can’t see Digital art
replacing the real thing. Yes it may have less equipment, be easier to access, May even be
cheaper, but both Digital and AI can never create the kind of artwork we’ve valued for
centuries. It may try and copy but it can never replace a unique art form such as
watercolour painting however ‘intelligent’ it might be.
