With the opening of Artists at Work in our Drawings Gallery we thought it would be a fantastic opportunity to shed some light on the artists among our colleagues at The Courtauld. Here we have Nadine Mahoney, Artist Educator in our Public Programmes team discussing her practices.
Could you tell us about your practice – what media you work in, what subject matter you focus on, what inspires you?
My practice is very process driven. I love the stuff of paint, and made my own paints from oils to watercolour and acrylic, on a range of supports from aluminium to canvas and panel. I am interested in identity, perception and the human condition. Working between abstraction and figuration, the history of portraiture is a big source of inspiration from lockets, to old masters, death masks and instagram selfies.
Tell us about your working environment(s).
My studio is like a second home. I have a collection of pigments in various old jars, piles of drawings, rows of unfinished paintings. I work on many paintings at once, so tend to have works in progress on the floor, the walls and my table. It’s an organised chaos.
Do you work anywhere other than, or in addition to, a studio – and if so, where?
I need my studio. When I became a mother I hoped I could work on the kitchen table but I just couldn’t paint or draw that way. It made me realise just how sacred the studio is to my practice.
How does your working environment affect your art (if at all)?
Environment and routine are important. I am a creature of habit, so need to have a regular workspace. I am currently working in a studio in Brooklyn New York, and it took me at about 4 months to get the studio working properly.
Are there any particular tools or objects you feel particularly passionate about and/or are central to your work?
I make my own paint, from watercolours to oils. This process is central to my practice. It started of as a way to have high quality materials inexpensively but now I can’t imagine making the work I do without it. My collection of pigments in glass jars are essential. Making the paint in the mornings offers a type of meditation, it helps me switch into studio mode.
How do you deal with creative block?
My practice is anchored through an obsessive curiosity of materials, so I’ve never really had creative block; there is always something I want to experiment with. Also, I work on multiple paintings, so if I get stuck, I’ll just move onto another one. That doesn’t mean all paintings are a success!
Discover more of Nadine’s work:
Artists at Work
The Drawings Gallery
Until 15 July 2018