We speak to the artist of the week for our Converse Emerging Artists Awards who's shown at the likes of Bold Tendencies and the 'Young British Art II' show
The submission to our Converse Emerging Artists Award that's come out top this week is from artist Myles Painter. Having grown up in Britain's picturesque West Country he moved to London to study Fine Art at Chelsea. Since graduating, he has gone on to show at the Peckham Car Park as part of Bold Tendencies, and at the recent 'Young British Art II' show in Zurich, curated by artist Ryan Gander. His forthcoming documentary features Will Self, discusses the apocalypse and is cut with images of the British countryside and found footage.
I enjoy working with different mediums with film and video being my primary medium at the moment. My ideas develop from a sculptural basis so I consider my time-based work, stealing directly from Tarkovsky here, as kind of ‘sculpting in time’ exercises
Dazed Digital: What would you say your work is about?
Myles Painter: I am primarily interested in architecture, be that physical or psychological as in spaces of social experimentation like modernist social housing/estates etc. From that I have found my practice to spiral off into different avenues of thought. At the moment I am developing a long-form film called ‘End-Time’ about the concept of Apocalypse and what it manifests creatively and socially through films, literature, politics etc.
DD: Explain the relationship between sculpture, film, text and architecture?
Myles Painter: I enjoy working with different mediums with film and video being my primary medium at the moment. My ideas develop from a sculptural basis so I consider my time-based work, stealing directly from Tarkovsky here, as kind of ‘sculpting in time’ exercises. Being an editor I see the process of putting a film together as building sequences into an object. Architecture is also very sculptural, a sculpture that you inhabit and text is way of emphasising that. In some of my work the text has come from writers responding directly to either the video sequences themselves or about concepts in the work as in representational and representations of space. Although the relationships can be very loose at times, it’s always exciting to see where my work can end up through the mix of concepts, mediums and collaboration.
DD: Describe your working process...
Myles Painter: I work in a very project based way. I’ve tried to develop a sort of studio practice but I just end up sat in front of a computer all day. I think I quite enjoy working on individual projects and experimenting within that and with collaboration; writers are especially great to work with and to talk through ideas with, especially what with myself not being a very good writer.
DD: What are your influences?
Myles Painter: Lots of film. I greatly admire the work of Michael Haneke. Books, I’ve always loved Georges Perec’s Species of Spaces and Other Pieces. Walking and cycling around the city and hiking in the British countryside. The Internet, loads of great things there to procrastinate with. And real ale and wine.
DD: Who, according to you, is the best artist of all time?
Myles Painter: I’ve been greatly inspired by the Land Artist Robert Smithson also James Turrell for his audacious Roden Crater.
DD: What's the best show you've seen in the last six months?
Myles Painter: Thomas Demand at Spruth Magers; great exhibition book too. Also, It wasn’t strictly an exhibition, but I have to say that I very much enjoyed watching Ben River’s ‘Two Years at Sea’.
DD: What's your next project?
Myles Painter: I’ll be trying to complete the aforementioned film project ‘End-Time’, so I’ll be doing some more interviews and finishing off the script with my writer friend George Taylor. Also I have a show of the collaborative project ‘Grander Designs’ videos coming up in September at Foodface Project Space for Peckham Artist Moving Image (PAMI).