Yareah Magazine

David McDowell, an old friend of Yareah magazine (you can see his blog: http://yareah.com/davidmcdowell/), Stephen Johnston and Kyle Barnes will have an exhibition in Belfast, Canvas Galleries, from the 23rd of April to the end of the month.
The show, based on realism, is entitled “Against the Grain” and since I have been admiring the fine work of David for years, it has been a great honour to interview him before the gallery opens its doors for these three excellent artists.

Isabel del Rio: David, why “Against the Grain”? Are you speaking about a technical concept or about some deeper notion of understanding reality?
David McDowell: “Against the Grain” is the idea of challenging the contemporary art market.  With Impressionism bringing about the invention of photography, the art market was flung from one movement to the next.  Movements overlapped and had no chance of maturing.  Realism was quickly dismissed with the introduction of Abstract Expressionism and now with Realism on the rise again, it seems like an appropriate time for the exhibition.  I suppose our aim is to reverse the canon that is abstract, by looking towards a reappraisal of contemporary figurative art.
IdR: Seeing your paintings, full of intimate scenes, I notice the contrast among the apparent peaceful world you are reflecting and the tension that your works are constantly emanating. Is Art always a dialogue between opposite forces?
DM: I think yes, art is largely based on the juxtaposition of opposites.  It seems to be an accepted notion within the art industry that, “Good Art” is defined by being either very loud or very quiet.  So you see… the art industry in itself is a dialogue of opposition.  I as an artist am interested in the idea of taking a private moment and making it public.
IdR: Is your interest in Realism a result of this current artistic dialogue among abstract forms and figurative paintings?
DM: My interest in realism has stemmed from the current trends in contemporary figurative art.  Eric Fischl, the godfather of modern Realism if you like, has made way for the likes of Alyssa Monks, Damien Loeb and Cynthia Westwood.  They have all made significant contributions to the revival of Realism.
IdR: It is not doubt you have a great, fine technique, how do you get it? Is it possible to be autodidact or does everybody needs good teachers?
DM: I think it is a mixture of both.  I think we can be taught the knowledge, but to develop the skill, must come from the artist.  For example, the trouble with a lot of students is that they fail to observe form.  People have preconceived ideas about how an apple should look, so they draw their idea, instead of drawing the apple that is in front of them.  Capturing form is very much about observing; it’s about training your eye, not your hands.  See I can tell you that, but it is up to you to put it into practice and develop it.
IdR: In your blog, you have written about Pierre Bonnard, when did you discover him and why did he impress you so much?
DM: Ah, Bonnard.  It was Dr. Louise Wallace at the University of Ulster’s School of Art who encouraged me to study Bonnard in 2007.  I was actually quick to dismiss his work at first, but for some unknown reason, the images seemed to embed themselves in my head.  Having been so intrigued, I started reading countless reams of Bonnard literature.  The more I read, the more I appreciated the complexities of such art work.  I think he impressed me so much because his objectives ran parallel to my own thoughts at the time.
IdR: Your apparently sensual ordinary young women turn in your canvas into timeless heroines, are you interested in mythology? Are you looking for the White Goddess by Robert Graves?
DM: *laughs* It is an interesting analysis you have made.  I do occasionally enjoy a good tale... who doesn’t?  However I don’t deliberately apply the concept of fantasy to my art… perhaps on some subconscious level it happens... but it isn’t an intentional thing.  I think too many words can paralyze the viewers imagination.  I like to leave the door open…  It interests me to hear various interpretations of my work.
IdR: The colours of your palette have changed in these last paintings? Any reason? What are you looking for?
DM: As an artist, it is important to be curious… questioning… critical of ones work.  My practice is changing all the time; my palette, my composition, my conceptual motive… surely this is pertinent to the development of any practice.  The industry has many painters, sculptors, photographers etc, but few are artists.  What I mean by that is, anyone can paint or sculpt or take a picture but an artist must be inquisitive.
IdR: What are the advantages of a three artists’ exposition? Why have you chosen Stephen Johnston and Kyle Barnes as partners?
DM: These two artists are emerging as the future of Irish Realism.  We all have the same goals, so it seems only logical that we work together to achieve them.  I met Stephen and Kyle in 2007/08 when we each attended the University of Ulster’s School of Art.  With Art College being driven by a student body focused very much on abstract form, we were in the 1% minority of figurative artists.  I suppose we were going “Against the Grain” and so there was a mutual bond between us.  I think with three artists, the voice of our objective gets heard; it can’t be ignored. 
IdR: Good luck, David, for you and for your colleagues.
DM: Thank you.