Each year the CCA International Summer Exhibition brings together an array of talented artists from across our island – be that in textiles, ceramics, fine art or photography. It’s always a great evening packed with both emerging and established artists, and this year saw a record breaking number of entries. Gallery gives the Design and Illustration Award, which commends unique and creative works in the realm of graphic design and illustration. Winning pieces stand out for their originality and technical skill, whether that be in print, digital or multimedia formats. This year Egg Sports by Martin McDowell and Fruits by Will Bertram took home the trophy, so we got in touch with them for an insight into the story behind their work.
Martin McDowell
Martin McDowell (69) was creating from an early age, but wouldn’t claim he was ‘doing art’ until the 1970s. After quitting school, he filled his time with artistic pursuits, which eventually led to a Foundation Course in 3D Design between 1975-76. The result was a much stronger urge towards painting – “a slow path this became,” he said. He didn’t start framing any of his paintings with the intention to sell until around 1982, right before the Arts Centre opened its doors.
What initially drew you to your current style?
‘The Voyage of Maildun’ refreshed my interest in myths, legends, folk and fairy tales et cetera. Most crucially, I’m now mindful that my paintings include ‘people’ engaged in various ‘dramas’.
Where do you get your inspiration from?
Within? One decides to make a painting… starting ideas may be useful, but much of what happens is often seeming like the painting is taking its own course, me merely ‘helping’ it along towards something I could never ‘think’-up. Nowadays I ‘feed’ myself with lots of matters historic, most especially the Renaissance period – the music, the art, all gets mixed with everything else in my noggin.
Are there any artists or styles that have shaped your approach?
Naturally, there’s bits of this, bits of that – and not just from paintings. In particular it was the works of Hans Arp (aka Jean Arp + his writings/poems) and Paul Klee. Dada, surrealism, abstract expressionism – such sorts propelled me towards my first exhibitions.
Does your environment affect the way your art looks or feels, or do you see the two as separate?
Very much indeed. Seeing the sea horizon every day affects my productions, for starters. The castles and forts – dating wayback – Martello towers, German bunkers and the dolmens. I walk through St Andrews Park every day, and see plenty of little animals, and thankfully, plenty of lovely nature’s greenery. Also, the endless building development being carried out. My yellow hats refer to surveyors and their hard hats, and all the buildings I put in my pictures are my alternative version of the endless construction biz – I sort of live in my paintings whilst they’re on the go!
I blot out modern traffic and modern styles of dress (amongst other things), but the sea, and the ever present sense of the particular local past, are all very stimulating to me. Everything affecting my work is not necessarily visible in the paintings on account of being altered and transformed imaginatively, but these influences are nonetheless spinning in my mind…
Some things are more obviously depicted, and make more sense with reasonable explanation. For instance, I hardly ever put Jersey cows in my pictures. Generally I include sheep, due to the history of the woolen industry on the island; the term ‘Jersey’ became the word used for certain woolen garments. We have few sheep nowadays, but I’m imagining sheep ought to be everywhere – hence a scene without a sheep would be unthinkable. Things like this abound during the scene creating, all of which would require a very confused essay to go into!
What is the process of creating a piece like for you?
Is it more intuition or planning?: I like to have vague plans, which likely get cast aside. I often think or decide upon some certain detail, load paint onto a brush… then as soon as paint reaches the target, something altogether different is done with it, and the original intention is suddenly ditched.
Is there an underlying message or theme you want to communicate through your work, or is it more about evoking a mood?
The intention to present something pleasing, confusing, intriguing and humorous. I dunno – society being comprised of many varied ‘mindsets’, I can only seek to amuse myself, with the hope that a few others might also find my work enjoyable. I may have ideas about what’s going on, but interpretation remains a free-for-all.
How do you decide when a piece is finished?
This is something difficult… really, I suppose if I don’t KNOW that it’s finished, then it probably ain’t. But then sometimes, a painting is framed – maybe even exhibited – and then months or years later taken out of the frame. Sometimes changes are required that just can’t be left undone.
Why do you create?
I feel a large part of it boils down to genetics – a strong instinct to make things.
Will Bertram
Will Bertram (33) has been intentionally making art for the last 14 years, drawing inspiration from global circumstances. He creates to ease his mind during times of turmoil, where affairs are negatively spiralling, such as the genocide in Palestine and the destruction of the environment. “I use my work as a way of digesting world events that we cannot control, that can make us feel hopeless or small coming from Jersey,” Will said. “But it’s very much from a place of positivity, trying to ensure there’s elements of fun and humour.” His work can be found at Framing & Arts, The Yard, Cargo, Common Ground and The Stoodio, and he is always looking for new projects, commissions and exhibitions.
What initially drew you to your current style?
Happenstance really – I skipped life drawing lessons and embraced a naive style that felt rebellious, but actually it was just inexperience. As I did more life drawing and figured out the rules I was trying to break, new inspiration started to develop. I like to ensure all my work looks like it’s mine, with something that makes it recognisable.
Where do you get your inspiration from?
I get my inspiration from everyday life – shapes of trees or plants from dog walks, dramatic skies, the sea or just places I love in Jersey. Shout out Havre Des Pas. I also take a lot of inspiration from books, TV and music, using lyrics or being inspired by text or characters. At the moment climate change, political turmoil and particularly commentary on Israel’s genocide in Gaza is sneaking into my work, whether these things come across or not. I often use my work as a way to digest my own thoughts on bigger issues, as well as my place within them, as someone with the privilege of safety who comes from a small island.
Are there any artists or styles that have shaped your approach?
I’m a big fan of Pieter Breugel. He was a rebel of his time, often criticising religious zealotry and politics of the time. He created my favourite ever painting ‘Hunters in the Snow’ which I would love to recreate at some point. I also love Danielle Winger for her use of colour and fantastical interpretation of wilderness. Mark Rogers does interesting work based around UFOs and mysticism which has a level of humour which I relate to. And then Marcel Dzama’s bizarre characters and political commentary have a lot of influence on my work. There’s also the Japanese wood blocks by Hiroshige and Hokusai amongst others.
Does your environment affect the way that your art looks or feels, or do you see the two as separate?
I think they go hand in hand because of the way I draw and what I try to do with my work. Jersey has so many unique places, landscapes and heritage which always give me ideas. In terms of direct environment, I try to maintain a level of wellbeing both mentally and physically. I often find solutions to artwork or get ideas when meditating, doing yoga or in the sea.
What is the process of creating a piece like for you? Is it more intuition or planning?
A lot of the time it starts with a note on my phone, a photo or a quick sketch. Then I’ll find reference imagery and take it from there. My process has become quite simple, mostly using my iPad Pro. I find the simplicity of the process allows me to manage time most efficiently, there’s experimentation with the option to undo or duplicate without starting fresh. I like to make my digital work have a physicality to it and on the flip side when I create work physically I like it to maintain a digital cleanness. Mostly I just make work I would like to see.
Is there an underlying message or theme you want to communicate through your work, or is it more about evoking a mood?
I’d like to think all of my work is hopeful, even when there’s serious undertones. I try to ensure there’s an element of fun in all my work, or something to draw people in and get them excited to look at the full picture. I tend to include lots of hidden details and references. At the moment I find it hard not to include references to climate change and the atrocities happening in Gaza, and the fragmentation caused by inequality. Background textures which once referenced nebulas and space have started turning into rocket trails and text has become more questioning. But again, I think I still ensure there’s a hopefulness to my work, and I take a lot of joy in making my work – which I hope comes through for people who look at it.
How do you decide when a piece is finished?
With the digital stuff it’s fairly straight forward, usually when it’s been coloured and textures are added and there’s some sort of balance and feeling. As soon as something is on a wall, it then feels officially finished.
Why do you create?
I know it’s a bit cliche, but I am who I am because of art, so in that sense I feel like I have to create. I’ve mentioned that I use my work to digest my thoughts and my place amongst wider issues, but there’s also the excitement of bringing an idea into some sort of realisation. I get a real joy from making work and I hope people who look at my work can see that and find some joy or relatability in it too.
