I turn now to my own line, perhaps the only one among THE MACCORMICKS with a professional artist/painter. My cousin, Neil, son of Iain and Nan and grandson of NEIL LAMONT AND CLEMENTINE MACCORMICK, has made painting his life work. I recall many years ago while visiting Uncle Iain and Aunt Nan in Toronto, Neil being persuaded to show us his works of that early period. They were very accomplished and attractive (forgive my unprofessional critic’s vocabulary). He has carried forward a talent which was displayed by both his father and mine. I believe that its source may been through Granny MacCormick’s mother – the Grant family. . In any event, his parents must be given great credit for encouraging and supporting his growth as an artist. As you will read below, Neil is entirely self-taught – no art school can claim him as their product.
| BORN 1958, Toronto, Ontario
RESIDES Toronto, Ontario EDUCATION No formal art education |
In 1993 I began using photos as source imagery for my paintings to apply a level of objectivity to an inherently subjective process. By adhering strictly to the information presented in a photograph, by restricting my palette (two reds, two blues, yellow and black), the size of the paintings (5.5 X 8″) and by using a single brush (an inexpensive #6 gold sable) I further eliminated many subjective decisions from my process. I’ve spent decades sporadically roaming city streets with my camera, subconsciously searching for subjects that reflected my core feelings of invisibility. Whether trailers, decrepit neon signs or derelict commercial buildings, each had attained the kind of invisibility within its surroundings that often heralds transformation, renovation or destruction. I’m interested in the existential question of being: If it’s ‘invisible’ to everyone, does it exist? I’ve begun to see my rigorous, rigid painting process as ‘performance ritual’. Monday to Friday I work at an old office desk from 9 am to 5 pm. I begin the day by removing the paints from a drawer on my left and placing them on the desk. I remove the painting from a box behind my desk. At noon I break for lunch and record my morning’s hours on an index card or ‘time sheet’ that I keep in a drawer on my right. At 12:30 pm I resume working until 5 pm when I record the afternoon’s hours on the sheet. This ritual is an integral part of my practice and a necessary element in the production of a much fetishised image on board: the average 5.5 X 8″ painting requiring up to 300 hours or more to complete. Through the restrictions I’ve imposed on my process, I’ve acheived a level of detachment from my subject and the physical object of the completed painting but I realise that in my attempts to eliminate the identifiable marks and gestures I made as an artist, I’ve somehow run headlong into myself through my work. Neil MacCormick January, 2013 |
 BORN 1958, Toronto, Ontario
RESIDES Toronto, Ontario EDUCATION No formal art education |
SOLO EXHIBITIONS2012 Winchester Galleries Modern, Victoria, B.C. GROUP EXHIBITIONS2016 Size Matters, Bernarducci Meisel Gallery, New York, N.Y. BIBLIOGRAPHYCatalogues Newspapers Television Radio AWARDS / HONOURSCanada Council for the Arts, Visual Arts Section, Creation / Production Grant, 2004. COLLECTIONSA. J. Diamond Associates, Toronto, ON |
Friday, March 11, 2016
A Largely Insignificant Day
Wednesday, January 28, 2015
The Big Picture
Monday, June 17, 2013
Unemployable
A friend in Montreal, Dahn D’Lion, produces a line of printed t-shirts as part of his inclusive initiative ‘We Live Here Too’, a kind of ‘best friends’ club for the disenfranchised of the world. In his own words: ‘Youth, Queers, Vegans, Punks, Artists, DJs, Ballerinas, folks with disabilities, folks with hyper-abilities, and any combination thereof’. I don’t buy many printed t-shirts but this spring, after seeing his inspiring and intelligent video about the meaning behind his shirt ‘Unemployable’, I was moved to make a purchase.
I saw images of the shirt some time before I saw the video and I had developed my own take on the ‘Unemployable’ reference. It seemed to mesh around thoughts I’d been having about the idea of ‘letting go’. Letting go of the stricture of expectations. Letting go of distant, hazy goals, of defining myself today by aiming my efforts at some imaginary, wonderful art-world future. Letting go of even wanting to understand the fickle art market, the often incomprehensible success of other contemporary artists.
One Day at Rest, Untitled 11 (4:34 pm) 2013
8 X 5.5″ acrylic on board
One Day at Rest, Untitled 9 (3:42 pm) 2012
5.5 X 8″ acrylic on board
To me, art is a middle finger aimed at convention, not a cry for acceptance. Too often, the most financially successful artists play the old role of the ‘licensed fool’ in a Renaissance court, having been given bemused permission to behave badly by the reigning art world royalty of blue chip galleries and big city critics.
One Day at Rest, Untitled 7 (1:06 pm) 2012
8 X 5.5″ acrylic on board
Monday, June 11, 2012
Fetishising the Negative
One Day at Rest, Untitled 5 (12:37 pm) 2012
8 X 5.5″ acrylic on board
Montreal has finally slipped the shackles of winter. Only the scars on boulevard trees and the bent iron railings of gates too near the sidewalk to avoid the reckless destruction of countless, clattering mini plows remind us of what has passed.
Winter lingers in my mind until the long days of daylight savings time drive out the darkness. I very easily slide into a dark place in those winter months. The space I reserve in my mind for negative thoughts becomes so easily accessed.
We often carry the effects of negative comments and actions that have been directed at us through our lives. Like a favoured collection I revisit them, as though opening a jewel case, sorting through the scars, running a finger along the edges of damaged tissue.
Of all the myriad unpleasant experiences I could mull over, one seemingly insignificant episode inexplicably rises to my consciousness with some frequency: the nine year old me, making my way home from school, uses a penetrating, newly learned whistle to call to friends a block ahead of me. A class mate, a girl whom I don’t know well, scolds me from across the street: ‘You think you’re so cool!’
The sense of deflation I felt from this remark was probably more extreme than warranted but it must have pierced a particularly sensitive part of my psyche. Was it wrong to stand out? Will people hate me if I do?
I was a precocious, confident child. In the sixties, precocious, confident children were placed in accelerated programs and completed three years of schooling in two years. I was one of six kids in my grade two class who were placed in this program.
By grade five, at age nine, I was already struggling to cope with the social displacement that comes from being younger than one’s group of peers. A late summer birthday meant that some of my classmates, with later birthdays, were almost two years older.
It didn’t take long to fall out of touch with my former classmates in the lower grade. A year with the older students in grade five made them seem impossibly young.
Anxieties always find a way out. The subconscious, internal battles we wage often manifest in debilitating thoughts or actions. The feeling of displacement I had at school, combined with the stress of familial complications made manifest in me mild versions of agoraphobia and body dysmorphia.
The agoraphobia, from which I occasionally still suffer, is classic ‘fear of the marketplace’, a kind of discomfort or even panic when faced with the chaotic crowds one finds at malls or markets or simply the chaos of the urban environment. Body dysmorphia, simply put, is a condition wherein a person has a preoccupation with perceived shortcomings in their physical being. It’s one in an arsenal of psychological maladies brought about, in part, by depression, anxiety and social withdrawal.
The anxiety of these things can be so strong that I have sometimes developed a limp while walking alone in public. In my mind there are vestigial, critical voices commenting on how I stand, how I walk. My debilitating, self critical analysis interfering with the simplest mechanical systems of my body.
As an offshoot of this, I now have what I jokingly refer to as body-of-work dysmorphia. This is an inability to see one’s work objectively. I constantly struggle to understand where I fit in the art world, to see my work as having value. A finished painting is a new opportunity to question one’s career decisions, one’s worth to society. A chance to revisit the old wounds of rejection.
One Day at Rest, Untitled 6 (7:18 am) 2012
3 X 3″ coloured pencil on board
Society reveres iconoclasts, putting their faces on T-shirts and mugs, quoting them endlessly in print or on the web while simultaneously deriding unusual behaviour in individuals, discouraging any deviation from the norm with the kind of Victorian moralising that ensures we all just become cogs in society’s machine.
I’ve always had a conflicting desire to stand out from the crowd while being wholly fearful of drawing attention to myself. The precocious, confident child still exists in my psyche in remnant form. I’m trying to let it out a little more often now while knowing that anything I do that is unusual or challenging is an invitation to the world to pick it apart.
In that place which is more than just ‘the blues’ but also just shy of despair, I compulsively turn over the accumulation of rejection in my mind. In a strange way, the delicate box that contains my collection of negative thoughts acts as a way of grounding me. Prodding the source of pain is a way of remembering who I am.
Saturday, February 11, 2012
Solitude
One Day at Rest, Untitled 3 (9:17 am) 2012
5.5 X 8″ acrylic on boardI spent the last month weaning myself off facebook. I went to my home page, checked for messages or notifications, looked at the first couple of posts and left. Do I really need to see what other artists are doing? Is it helpful?Most of my art life has involved selective ignorance. Long before home computers, in the hazy days of my youth, finding out about anything was a chore that involved leaving the house and I rarely left the house for anything but school or street hockey. The few art books that made their way to my consciousness came from my sister who worked at a bookstore. I had undeveloped interests and it pleased her to feed them: Diners, by John Baeder; New Techniques in Egg Tempera, by Robert Vickrey; Ken Danby, by Paul Duval; High Realism in Canada, also by Paul Duval. I didn’t buy or look at art magazines, didn’t know any artists and got most of my visual education through popular sources like newspapers, television and high-end greeting cards.I’ve always drawn or painted: at the kitchen table with the radio blaring while my mother cooked or baked; at the dining room table with my sister, copying the pictures she made for her homework assignments; at the coffee table in the living room with the television blaring. I drew what was at hand: a cigarette lighter; a newspaper masthead; the radio. I incessantly drew hot-rods and other vehicles. We were a car free family in North America and cars were an exotic ‘other’ for me.
One Day at Rest, Untitled 2 (8:15 am) 2011
3 X 3″ Coloured pencils on boardI also spent a lot of time looking out the window, watching planes on their descent to Toronto’s Malton airport or people and traffic going by on our quiet street. The world has always seemed to be something apart from me and I’ve always taken measures, mostly unconscious ones, to protect my mental and physical space in it.Partly in an effort to develop and protect my own system of thinking, I’ve never read artist’s biographies. In my early twenties I bought and began to read a book on Edward Hopper but I didn’t get far. Many of the things he was saying were already in my head and I didn’t want to associate those thoughts and ideas with Hopper, I wanted them to be my own.Although my life as an adult is a little more open to the world, my exposure to art continues to be guarded. What began as a way of protecting my embryonic thoughts from a barrage of challenges has become a kind of identity. In all my trips to New York City, I’ve never been to the Metropolitan, the Museum of Modern Art, the Guggenheim, the Whitney or the Frick. I’m still not exactly sure what or where the Frick is and I have no real desire to know. There have been no art school ‘crits’ and until facebook, no obsessing over other people’s work.
One Day at Rest, Untitled 4 (7:19 am) 2012
3 X 3″ Coloured pencils on boardThe internet should be a boon to someone who doesn’t like to leave the house but I find it a mixed blessing. My weekly coffee and conversation with artist Randall Anderson has convinced me that some art world discussion is a good thing and can fundamentally change how one perceives one’s own work but the internet’s unlimited access to thousands of other peoples’ career decisions can be confusing.Facebook is my new ‘peering from the window’. Only now, instead of a quiet suburban street, it’s the busiest possible downtown intersection. Logging out of facebook is the equivalent of closing the blinds, leaving me to the comfort of my own thoughts. Even if those same thoughts are in the minds of my peers and have been in the minds of generations of artists before me.A Note on the Drawings:I’ve used a limited palette of colours in the drawings, similar to that of my paintings. Two reds, two blues, yellow and, instead of the mars black of the paintings, a very dark brown.
Friday, October 28, 2011
One Day at Rest, Painting 1
One Day at Rest, Untitled 1 (7:51 am), 2011
8 X 5.5″ acrylic on illustration board
Now that the first painting for ‘One Day at Rest’ is finished, I’m pondering which images from that day will become drawings or etchings, figuring out a handmade book that I might make. I suddenly feel like an artist again instead of a machine for producing photorealist paintings.
I used all manner of materials when I was younger, the different media transforming the ideas I brought to them. What happened? Perhaps I was too eager to define myself. I’ve been so intently focused on producing a cohesive body of work in the last couple of decades, refining the definition of what I do, that I forgot to take time to experiment. The commercial gallery world, where I felt inclined to belong, likes to define things, needs to define things. The simpler the definition, the easier the sale.
Painting is exhausting. It consumes every ounce of concentration I can generate. For me, the end of the day means the end of thinking about art. I need to get away from my desk, blank out, go for a walk, watch television. Late in the evening I’ll think about the day of work I have ahead. In my mind, I go over the areas I’ll be tackling in the morning like a marathon runner crossing the country. Tomorrow, I’ll try to get to Calgary.
I’m excited enough about my new project that it’s dislodged decades of walls I’ve built around what it means for me to be an artist. During the several months that I work on a painting, I’m not sure I can do other things like drawings or prints, but the time between paintings, when I’m usually feeling unsettled, distracted, or guilty about not painting, suddenly seems like the perfect opportunity to experiment.
Sunday, October 16, 2011
A Way Forward
Digital photo ‘One Day at Rest’ (7:08 am) 02/07/2011.On July second, 2011, I took more than 7,200 photos of a typical summer Saturday in our condo studio in Montreal. Four cameras, covering virtually every square inch of living space, recorded our existence from our waking at 7 am to lights out at 10:30 pm. The digital cameras were mounted surveillance style from the ceiling and at an interval of seven or eight seconds, one of the four cameras would silently record an image. I also carried a voice activated digital sound recorder throughout the day and recorded over eight hours of audio.I plan to produce ten paintings, some drawings, etchings, an audio/video piece and anything else that strikes me as a necessary part of the project. I hope to present it all in the Jim Kempner Fine Art Underground space in New York while I finish off the last painting at my desk in the gallery, performing my daily painting ritual, for the entire run of the show. Any number of things could go wrong with this plan over the next couple of years but at least I have a way forward.‘One Day at Rest’ is an attempt to further explore my perception of honesty, its nature and role in my work, and a more direct attempt at portraying my physical and psychological existence without the distorting filter that results from turning the camera outwards.I’ve spent decades sporadically roaming the streets with my camera, subconsciously searching for subjects that reflected my mental state, my unease with the world. Every subject I painted spoke to me in this way, whether trailers, neon signs or derelict commercial buildings. It took several years to consciously understand that I was searching for a way to reflect my damaged self, except I’d found a way to expose myself to the world without truly giving anything away. I hadn’t intended to perform this psychological dance of the seven veils, I thought at the time I was being pretty direct. I certainly felt the anxiety of the exposed, but a growing awareness of how people perceived my paintings made me realise I was on the wrong track.In a gallery setting, my paintings look vaguely like photographs. Admittedly, like ink-jet photographs printed on cheap paper in fast draft mode. I’ve often explained to someone hustling past the images at an opening ‘By the way, these are paintings, not photographs!’ People would often do a double take and look a little closer but I began to feel that most were saying to themselves, ‘That could be a photo or it could possibly be a painting but I’m not interested enough to care.’ The current dogma of contemporary art appreciation doesn’t seem to allow for a small photo based painting. Ironic, given the preponderance and apparent popularity of rather dull photographs of abstract collages, photographs of paintings and photographs of photographs. I’m puzzled that people don’t seem to ‘get’ the work but I think they’ve been taught that there’s nothing to get.When what I do no longer works for me, it’s time for a change. Art is communication and I feel that my message could do with a little reworking. It’s just an old building, how can I expect anyone to get that it represents my tortured soul, that it speaks of impermanence, mortality, alienation, the nature of and value we place on the production of culture? I’ve been hiding behind a facade, sometimes a literal facade, strangely, and it’s time to change how I show myself to the world.Seventy two hundred photographs of me doing very personal things somehow didn’t make me feel any more exposed than my paintings of buildings or signs. For me, they are the same thing. I hope for the viewer they are something quite different.
Thursday, July 28, 2011
Sea Change
ABC United Trading Corp. 2011 5.5 X 8″ Acrylic on illustration board.ABC United Trading Corp. will likely be my last storefront for awhile. The changes I’ve made to get my paintings into a different realm in New York have had unexpected consequences. This ongoing process of recontextualisation has led me to a surprising revelation: It appears I’ve driven a car into the desert and run out of gas.I’m not sure when, exactly, I ran out of gas. It may well have been long before I made it to New York for my first show at O.K.Harris in 2004. The twenty year drive to show my work at a good gallery in New York City somehow kept me from knowing that I was no longer inspired by what I painted.The little ringing voices of truth that I imagine occupy a space just above and behind my head are most easily ignored when life is complicated. The more entanglements my life or career has, the more I ignore them. The blessed silence afforded by the odd confluence of a dying American economy, the strange weightlessness of an unsure venture with a new gallery, and my aching disinterest in my own work has finally allowed the voices to be heard above the din of self delusion.Art is self exploration. This fact doesn’t always mesh well with a world that prefers to see culture entwined with commerce. The artist’s understandable preoccupation with the financial insanity of this kind of pursuit and the accompanying deviation from the purity of one’s truth is no longer an option for me. The pressure we place on ourselves, or allow others to place on us, to proceed along a predetermined path to ‘success’ has the effect of eliminating from our lives the insignificant seeming non sequitur, the chance encounter which changes one’s entire direction. I think I know now that there isn’t a goal. Only a direction to take and reevaluate when necessary. This is a journey whose length is indeterminate and unknowable and ends only when we ourselves end.I can choose to find some gas and continue on or I can leave the car in the desert and find another road out. The immense relief I feel as I walk away in another direction is the answer to the question ‘Have I done the right thing?’
Monday, April 4, 2011
Living in Exile
Petemar Enterprises 2011, 5.5 X 8″ acrylic on illustration board.I’ve made two significant geographical moves in my life. The first, in 1989, from Toronto, Ontario to Victoria, B.C. (3397 kilometres). The second, in 2008, from Victoria back east to Montreal, Quebec (3733 km). Both moves gave me a sense of living in exile in one way or another. Both were largely financially driven but each also had an element of escape. The first, escape from the fold of family, old patterns of expectation, the ‘didn’t I know you in high school?’ encounter. The second, a licking of mid-life wounds, an almost random stab at the map for a new place to start again.Perhaps the urge to move on is an inherited trait. My parents became postwar, economic exiles of Scotland when they made the difficult decision to move to Canada in 1950. Canada was a place of employment opportunities and where one could buy a dozen eggs if one wanted. The latter was no small consideration for a young family living in postwar food-rationed Glasgow. My father never fully committed his heart to Canada despite spending a large majority of his life here. ‘Home’ for him was more than 5,000 kilometres from the house he shared with us. In a way, he never fully committed to the idea of a home with a wife and three children either. He once remarked to me as we stood looking at the backyard of the house I grew up in, ‘This would be good place to raise a family.’ I thought, ‘Actually, it was. Where the hell were you?’Sometimes the moving on comes before one is actually ready to leave. Over the last year or two I’ve struggled to understand my place in the art world and tried to sort out why I don’t feel particularly comfortable with the ‘photorealist’ label, despite the obvious connection my work has to the genre. I know that I’ve moved on but I’ve had trouble falling into step with my new surroundings. Exile is the removal of oneself from the realm of interest that so possesses the person in exile. The removal, which can heighten one’s desire to engage the mind with what was left behind can also, over time, allow for a dampening of the passions. So it is with my dying interest in photorealism.Montreal isn’t home yet but it probably will be before long. ‘Moving on’ is more of a psychological transformation than a change in one’s address. It’s easy to pack a truck and move oneself physically but the ties one has to a place aren’t so easy to shake from the mind.
Wednesday, December 22, 2010
New Painting: ‘House on Marconi’
House on Marconi 2010, 5.5 X 8″ acrylic on illustration board.It’s an odd sensation painting something that one walks by everyday. The subject of ‘House on Marconi’ sits only a few yards from our front door. Over the last few months, during the daily dog walk, I’ve occasionally been tempted to check out details that were unclear in the source photograph but I mostly avoided looking too hard. There’s an awkward creepiness in paying so much furtive attention to someone else’s house. It’s not unlike developing an obsessive crush on the person who makes your soy latte every morning. Not that I would know anything about that.Being so deeply immersed in a subject, as one is when spending three months painting it, is an unusual experience. All the more unusual given the prosaic nature of the subject. No one in the ‘real’ world ever spends that much time considering such a quotidian scene. I have a complicated, subconscious response to my subjects that feels almost physical. It may be the sense of desolation or the inherent, sad beauty of the unremarkable facades but I get a strange feeling in the pit of my stomach when confronted by the scenes that become paintings. They act as clues to some long buried personal mystery, each one giving a sense of bringing me closer to resolution but never delivering a result.As I sort through my slides looking for the subject of my next painting, I have to constantly remind myself that it’s the pit-of-my-stomach, anxiety-disorder, existential aloneness that I’m painting, not old houses, storefronts, or my neighbourhood. Certain examples of these things can trigger in me the feeling I’m wanting to explore but aren’t, in and of themselves, a reason to paint.
