An Interview with Marc Gooderham
As the face of London changes seemingly overnight, local artist Marc Gooderham has made it his mission to capture these views of the city, the architecture of crumbling and faded grandeur, that are beginning to vanish before our eyes. In the run up to his exhibition Here Comes A City, opening February 8th 2018, we took the opportunity to ask Marc about his paintings and his project.
What is your artistic weapon of choice? Pencil, pen, paintbrush, digital….
There are two. Naturally the paintbrush, but also the highly underrated yet extremely versatile piece of chalk!
How long have you been painting and drawing? When did you start out?
As far back as I can remember. As a child I would sit and draw for hours. Still lifes, portraits, intricate buildings using pen and ink. The first piece of art I sold was to my art teacher at school. He kindly parted with £150 for a still life piece. As a kid, this was all very exciting. I tried not to let that first sale go to my head…honestly.
All your pieces come from real locations, mostly in London. What is it about the urban landscape that appeals to you?
I’ve always lived in London, so it’s a place I know and love. A place of intrigue and new experiences. It’s the contrast of old and new and glimmers of a forgotten time that really appeal to me.
Buildings with a fallen, crumbling exterior always hold an evocative beauty. Cities are a physical thing, they’re made up of lines and interesting forms, and the complexities of architecture and perspective can be challenging at times. But it’s all these things that make it the perfect subject to paint. Buildings command our attention. They’re our homes, places of work, places we admire and fall in love with. They help us navigate our way through life.
What is your process for working on a new piece?
The only real way of getting to know a city is by walking it. Familiarising myself with the street level views. Making preparatory sketches and photographs. Revisiting a potential location at different times of day – sketch as much as possible! It has to have all the right components, which help make the final composition. Light and shade, suggestions of human life, a glow or reflection in a window, lights shimmering in the distance. These all give harmony and unity to a picture. Once these are in place, I begin work in the studio.
You are now working more with chalk pastels instead of painting, was there anything in particular that drew you to a new medium?
Working with charcoal and chalk pastels has been quite a liberating experience. I am still painting, producing large canvas pieces each month, again of the urban landscape. I will always paint, however the pastel/charcoal lends itself to working quickly and more instinctively, 50% of the picture is created using my fingers. There isn’t a lot of room for mistakes which adds to the excitement of this medium, speed is of the essence! It’s about capturing a certain feel or atmosphere and ultimately exercising the art of freehand drawing. It gives the artist a sketch – like fluidity.
Do find yourself returning to locations?
All of time. The locations are very familiar to me. Old haunts or places I have lived naturally become the subject of my work. The city is changing at such a rapid pace, there will always be a new discovery.
What is your favourite takeaway?
Quite simply ‘Babur To Go’.
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