An artist profile of Rory Dean
How would you describe your work? And what materials do you use to create your pieces?
May I begin by stating that there is nothing more eye-rolling or groan- inducing than an artist statement. With rare exception, I have never read one that made any sense. So many artists ascribe nobility of intent to their work, while attempting to sound sophisticated and intelligent–unfortunately, pretension is usually the end result with the upshot being that the artist simply looks ridiculous.
I wish more people saw the artist statement for what it is much of the time –either a lie or pure old-fashioned shit. The only ones that I wind up remembering are the truly horrendous. Therefore, I have never taken them seriously and I have had the worst results attempting my own as you will no doubt see here.
Having said that, I recently read John Currin’s at Gagosian. It was simple and elegant, consisting of a quote from him and a short paragraph or two describing what the work is and what it is not. It was refreshing– although it helps when your name is John Currin and someone is paid to write it for you.
Following that pattern I offer you my version:
“Historians are limited to facts. A novelist can use his imagination to go elsewhere. Artists invent things as a way of telling the truth.”
Yann Martel in VIA destinations, Vol.7, no.5 OCT./NOV.2010.
The inspiration for making paintings comes from anywhere and everywhere. I work from pre-existing images. Whether an image comes from the internet or the newspaper, if I find it compelling in some way I will appropriate it and attempt to make a painting with found imagery as the visual foundation. Admittedly, perhaps my artistic philosophy is somewhat akin to a pregnant teenager on Maury Povich announcing: “You don’t know me. I do what I want!” Although that is not entirely reflective of my artistic goals, it is a point of view that informs my everyday practice in regard to making paintings. I make what I want and worry about what it means when it’s finished.
My interests on any given day make up the subject matter of the work but I would hate to be too specific or become so narrow in my choices that I risk becoming the artistic equivalent of a one liner. The paintings are not all winners and some paintings do not mean anything. They are paintings. What do you what me to tell you?
Do you do preliminary drawings for your paintings? If not, where do you find/create the subjects of your portraits?
Rarely, almost never. Like a troubled premature ejaculator, I skip the foreplay and get straight to the “bidness.” I know it’s a mistake but I always make it. I realize that it’s important to solve your problems on paper before painting–perhaps all those paintings I start that never see the light of day could be avoided–but too much prep work is boring and it feels contrived in a way.
It’s like a stand-up comic telling a joke over and over. Yes, of course, it’s smart and it works (I am thinking about Tim “The Toolman Taylor” Allen or Charlie Sheen from Two and Half Men for some reason) but I can’t bring myself to do it.
A little spontaneity when making a static image like a painting can go a long way. Painting is time consuming and labour intensive. I don’t need the agony of preliminary pains, too. Painting every day, working on the same painting for six to eight hours a day, for weeks is monotonous.
Not long ago, I was listening to Martin Amis being interviewed. A question was posed as to his advice for young writers. Not surprisingly, he used himself as an example. He said that if he could go back in time and advise Martin Amis, the younger, he would tell himself to take a break when facing a problem and let the issue work itself out. I would agree with that method of problem solving.
I let the problem work itself out through time and lots of hard work.
When are you most productive?
I don’t ever think I am productive enough. I heard Alex Katz, on a TV documentary about The New York art world, offer his advice for younger artists.
He said that a painter should work at least five or six hours a day for five years. Just so that they get to know the craft. I completely agree with that statement. But I would take it even further. I subscribe to the same work ethic that governs most people’s lives–treat painting like a nine-to-five commitment, at the very least.
You want to be a professional artist you have to work as hard if not harder than every other stinking human being. So I am always wrestling with laziness.
You recently left Toronto, for Montreal. Does it have anything to do with making art? How does Montreal’s art scene compare to Toronto’s?
I have been in and out of Toronto for a long time. It hasn’t been my home for years. I was painting in my bedroom at my parents’ house (Hey it worked for Marcel Dzama and Ray Romano, okay?) in Merrickville, Ontario for two or three years, after I graduated from OCAD in Toronto. Then, by a miracle I found a real, live, female, human, companion (There is hope for you yet my fellow track-pant- wearing-stay-at-homes!). My girlfriend, Larissa, is why I moved to Montreal.
I really like Montreal. I love the architecture of the residential apartments and the copper green of all the church tops. When the sun is shining Montreal is beautiful, though slightly neglected like an old lady’s Victorian home.
I believe the potential in both Toronto and Montreal is huge.
Toronto does not have, for example, a Larry Gagosian type of figure does it?
And frankly, that’s what I think it lacks. Let me make a sports analogy. The NBA has the Lakers at the top and the Raptors at the bottom. And you can go ahead and blame the Raptors organization if you want– MLSE makes money and they’re satisfied.
But what you’re left with are hardworking bench players with no leadership. There isn’t a star player on the Raptors anymore. In the same way that Toronto lost Chris Bosh, we keep losing all our great artists to bigger markets. Or maybe we simply do not support star culture in the same way it’s celebrated in the United States.
What possessed you to start a blog? And what are some of your favourite art blogs at the moment?
I have a blog that is really just for me to trot out when I am so bored suicide seems like too much work. It’s like a teenager’s blog. It’s just about artists that I like and admire and friends that I feel the same way about.
I go mainly to my friends Blogs:
joebeckerpaintings.blogspot.com
fuzzyladies.blogspot.com
peggykouroumalos.blogspot.com
Do you have any shows coming up?
2011 I think will be a busy year with group shows in London, Germany and Toronto.
Joe Becker and I are supposed to have a two-man show at Christopher Cutts in Toronto. We have been planning this for the past five years. We hope to have it sometime between 2011 & 2035.
Joe suggested that we exhibit at some lesser-known gallery in Toronto with an exhibition entitled: “Joe Becker & Rory Dean: We Give Up.” I’m kidding of course.
I am exhibiting in a bunch of group shows. I’m in an exhibition at OCAD University in November, my alma mater. An exhibition entitled “Where They Are Now!”
Any last words?
In the words of Keyshawn Johnson “You don’t like Keyshawn Johnson you gotta problem within yourself. There’s something wrong with you”
