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John Costella
Interview with the artist
Do you have a favourite amongst your own artwork?
I have recently made several studies, in acrylic, of work by Jack Vettriano which hang in my lounge. Of these studies I consider 'Good Day's Sunshine' to be my favourite as it captures movement, colour, space and period perfectly.
As an artist, I feel that Jack Vettriano's pieces capture all aspects of art that I consider to be important. Primarilly, each composition instantly directs both the mind and eye to events, period and mood which is demonstrated by using a balanced mixture of subject matter and colour.
In addition to my acrylic work I also really enjoy working on monochrome sketches in pen and wash of city scapes, especially my studies of Venice (entered 2 pieces which I like very much in the 2008 Summer Collection at the RA). My inspiration comes from masterpieces by Turner and Girtin which I have viewed in the Prints and Drawings Rooms at Tate Britain.
Where do you work, do you have a studio?
I consider myself very lucky to use my home as both my gallery and studio.
My studio is situated on the second floor of my house which has a double aspect light source although I do have to rely on artifical light especially during the autumn and winter periods.
As my work is so varied in composition and style I use several processes to acheive a finished piece, primarilly most of my work is undertaken in the studio but I delight in 'plein-air' tactics (especially on my frequent day trips to Venice). On recent trips to Venice I have not only completed landscape and cityscape watercolours but have also completed textured relief work on canvas boards on both the mainland and surrounding islands......magic!
Photography plays an important role in my artwork, especially watercolour as I can capture and freeze the moment instantly for most compositions, and I spend a good deal of time 'resting' from brushwork by travelling and photographing material for future work.
Describe your routine on a day when you are working on your art?
My routine for the day when working in my studio alters according to the type of artwork I am undertaking.
Most of my work is started early morning and continues until it is finished, sometimes into the evening, especially with abstracts, art deco and contempory works.
Watercolours are usually completed more quickly, however I do spend a considerable amount of time transposing images from photographs to paper in order to get the perspective and detail right.
I am very fortunate to be able to travel to Venice regulary and revel in the fact that I am able to paint outside in a dozen or so locations. If the weather is inclement then I still manage to sketch and visit the never ending wealth of treasures this city has to offer. Passing tourists always stop to talk and gaze, and many actually buy on the spot as I always a collection of finished watercolours with me just in case, and they soon discover that each piece is an original and not a printed copy...what value for money!
Who is your own favourite artist?
I don't have just one but several artists who's work I really do enjoy. Whenever possible I try to include some reference to their work within my pieces.
Canalleto....for his panoramic views, detail and colour 'A Regatta on the Grand Canal'
JWM Turner....All his wonderful sketches and paintings of Venice
Thomas Girtin....also for his architectual skills to create detail and his pen & ink works. 'The Eidometropolis'
All the 'Impressionists', especially Monet, for introducing their new concept....'Zaandum'
Edward Hopper for being a 'realist' who depicts people and places for what they are....'The Hotel Lobby'
Roy Lichtenstein for producing vivid and dynamic colours into sensitive themes within his pop art....'Blonde Waiting'
Jack Vetrianno for creating period, style and movement into everything he produces....'Good Day's Sunshine'
What was the last exhibition you visited?
Winslow Homer - Dulwich Gallery 22nd March 2006
RA Summer exhibition - 14th July 2006
Accademia Gallery Venice - 3rd August ......ongoing throughout the year!
Modigliani & His Models - 10th August 2006 (Royal Academy)
Peggy Guggenheim - 11th Jan 2007
Ca'Rezzonico Venice - 11th Jan 2007
Caneletto in England - Dulwich Gallery 20th Feb 2007
The Unknown Monet / Citizens & Kongs - 4th April 2007 Royal Academy
John Singer Sergeant in Venice/ Venice July 2007
Turner/Hockney / Tate Sept 2007
Biennale (Venice) November 2007
Museo Fortuny Collection (Mariano Fortuny - Venice)Dec 2007
Palazzo Zuckermann Collection (Padua) Mar 2008
The Architects Who Made London & From Russia Collection Mar 2008 (RA)
Radical Light-Italian Divisionist Painters - 23rd June 2008-National Gallery
Constable Portraits - March 2009 - National Portrait Gallery
Sickert in Venice - April 2009 - Dulwich Gallery
Van Dyck & Britain - April 2009 - Tate Britain
If you could travel back which point in art history would you like to visit?
Starting point would be the mid 18th century and follow Canaletto in Venice.
From there I would like to jump to the early !9th century and watch both Turner and Girtin at work both in the UK and Venice.
Following which I would love to be in France (Paris especially) around the mid 19th century and watch the Impressionists at work.
As both a writer and artist I try to integrate historical interest in my words as well as portray each passage of my manuscript into monochrome sketches which bring the tonal aspects of each piece to life.
Which artist, past or present, would you like to study under or collaborate with
Having read quite a great deal about my personal favourite artist's, I would probably fall out with most when it came to personalities as I consider myself to be quite rational and easy going!
Given similar ideals, personality and expectations I think possibly Jack Vetrianno as his subject matter, style, period and mood seem to appeal to me the most, not forgetting his phenomenal success!
I of course must not forget Ken Howard, and exceptional artist whom I have followed for many years, and one that I hope to meet one day if only to buy him lunch and thank him for the inspirational DVD's and Videos that he has produced. All of Ken's subject matter is wonderful for me as he combines locations in Venice, Mousehole and London which are also very dear to my heart.
Are you messy or neat when you work?
Sad as it may seem I am a relatively neat and tidy person (probably due to my age) and therefore my studio is kept tidy most of the time, once I have completed a piece of work.
As my studio isn't large I need to keep most things in order which suits me fine as I can then find everything I want quickly at any one time. My studio houses everything I need (a curiousity shop) for the variety of styles I undertake, and it is a room which I always feel comfortable in at any time of the day or night.
When painting on location in Venice I miss having everything to hand but I usually pack all that is required. The groundwork for my textured relief pieces are sculptured in my studio and allowed to dry before I travel thereby allowing me to finish each piece on the day without creating any mess. My watercolour work never presents any problems as I have a comprehensive travel pack within my easel which is compact and tidy.
Do you display your own art at home?
Apart from the splendid 'Mini Gallery' my home is both my studio and gallery. I must however move more pieces around than I do at present.
I have artwork spread throughout the house and on shelving around my studio which works well when family, friends and perpective buyers wish to view.
What is your favourite subject and why?
I guess my favourite subject is watercolour and textured relief work on location, where water usually is part of the composition. As both an artist and writer I enjoy expressing my current project in both words and sketches.
Venice and Amsterdam have featured in many of my watercolour works in the past as I use the canals, rivers and buildings quite a lot, and love any excuse to fly out on a day trip (especially Venice) to photograph, write, and paint ....good old Easy Jet!
I interchange my styles and media frequently, watercolour being unforgiving at times prompts me to change to acrylics where I am able to recover work more easilly and focus my mind on using bright vivid colours.
Each new piece of work seems to be my favourite at the time, but as I regenerate both style and composition frequently I never cease to be invigorated by whatever is on the easel......Painting is forever!
What is your favourite media and why?
I enjoy both watercolour and acrylic media for the majority of my work.
Watercolour gives me the opportunity to blend colour and form together more easily when portraying my work, in a 'new age impressionist' manner. When sketching in watercolour (especially monochrome landscapes) I work on tonal values to acheive some unity with my current writing project.
The majority of my acrylic work really gives me the opportunity to experiment with colour, shape and form (especially abstracts) and is far more forgiving. I enjoy the textile feel when applying the paint and the opportunity to use a range of different tools to acheive form. Acrylic work also allows me to introduce 'alien' additives' not only to create texture but amplify glazes as well as shapes. Occasionly I use acrylic inks to create colour and form in floral artwork, this media really is exciting as I am not always able to control shape I want.
How long does it usually take you to complete an artwork?
Varying mediums specify completion times.
Whenever I paint in watercolour I generally complete each piece in a few hours. This is acheivable because I have researched the subject earlier and probably made many short sketches prior to paper getting to the easel.
I love painting building structures and sea views and use my camera to capture my subject, when on location (plein-air), I spend a good deal of time seeking my spot and walking for miles.....especially in Venice.
Invariably when on location I come prepared with canvas or paper already sketched or scupltured (photographs from prevoius visits).
Acrylic works vary in time according to the subject, textured work will take several days as I have to scupture each piece and allow it to dry before painting and I usually work on several pieces at any one time.
Oils can take me weeks to finish, as I like each wet to to thoroughly dry before continuing.
Who or what or where would you love to use as a subject for your artwork?
Venice, Venice, Venice!......that's the place to be, that's the place to work.
Whenever funds allow, I will take the opportunity to visit Venice as it is the one city in the world that gives me total inspiration. History, architecture, colour, light, it has it all throughout each season (Vivaldi pun!). The only place I want to paint 'plein-air'.
I never tire from it's energy and I need no excuse to visit Venice regulary and good old Easy Jet enables me to make frequent day trips there to marvel, study and paint.
The Grand Canal offers me several hundred subjects alone, Byzantine, Gothic, Rennaisance and Baroque architecture to savour, apart from the multitude of Campo's and small canals which provide a dictionary of life.
More recently I am working on a new book which incorporates the many historical sights along the Thames path in London, allowing me to produce monochrome pen and ink sketches which I really enjoy working on.
What do you like best about being an artist?
Easy one to answer:
1. Having the opportunity to create colour and form on canvas and paper whenever I want to.
2. Having my own studio where I can visit, ponder, think, create and enjoy my work.
3. Having the opportunity to travel and either photograph or paint when I reach my destination, I travel to Venice regulary on day trips....good old Easyjet!
4. Sharing my work with other artists, friends and customers.
5. Walking into an art materials shop and spending a small fortune......!
6. Becoming more observant of nature and life itself.
7. Continually learning and developing my art by studying from others both past and
present.
8. Painting on location and having people stop, talk and buy!
When and where did you first exhibit your work?
My first personal exhibition was the Surrey Artists Open Studios 2006 when I opened my studio to the general public, I converted my double garage into a studio for 2 weeks in a way so that I can take down partition walls and re-erect for future events.
The whole process and event proved to being a great success for sales, far exceding my expectations, but I would dearly have enjoyed more passing visitors during the 2 week period. I was however in competition with the World Cup, The Derby meeting, The British Grand Prix and the best June weather for many years!
Exhibiting is really important to artists as I consider that we are all performers and therefore in need of an audience, and although sales are important to finance future work nothing is better than having lots of visitors just viewing, discussing, enjoying, even criticising something you have created.
What is the most expensive art related purchase you have made?
Other than painting equipment it has to be watercolour brushes which are so expensive and which need carefull treatment at all times.
I am however a member of the Society for All Artists and usually get very advantageous rates for all my materials and equipment, unfortunately items are ordered through a catalogue which doesn't offer the same enjoyment as visiting a retail art material shop.
Which is your favourite art gallery and why?
Not one in particular but four.
National Gallery - Canaletto, Hogarth, Impressionists
Tate Britain - Turner (Especially when I am allowed to copy Turners sketches of his 3 short visits to Venice......pure inspiration!)
Accademia (Venice) - History of Rennaisance art
Ca'Rezzonico (Venice) - History of Venetian art and Venice
If money were no object which artwork would you buy?
Watercolours by Turner.
Any works by Jack Vittriano, Ken Howard, John Yardley
Do you find art relaxing?
In the main working in my studio is probably the most relaxing activity that I enjoy, having said that, getting to the point where any particular piece meets my expectations can be termed as 'acceptable stress'!
I generally find that the more continous periods of 'creative' time (8 hour stints) generate mixed emotions, varying from bliss to frustration, my best work is usually achieved when I work on impulse following a fit of inspiration.
Although I have never worked on a very large piece of canvas, say 6ft x 4ft, I feel sure that I would really enjoy the experience and be perfectly relaxed, something I intend doing in the future.
What are your future plans? What would you like to achieve?
More recently I have combined my artwork with my writing, I find creating pen and ink sketches to be so meaningful in developing my skills.
I would like to think that the next few years will allow me to bring together my writing and artistic skills in such as way that I will eventually express what I see equally as good in art as I do in writing. (One picture can speak a thousand words)
I also intend to develop my watercolour work into softer and more desciptive passages, experimenting in tonal values using black and white only.
Perhaps more importantly I have now been given the opportunity to copy original Turner watercolours from his Venetian sketch books, for this I am eternally grateful to Tate Britain.
Have you ever had a gap where you haven't done any work, what made you restart?
Since I began writing the time I actually spend painting has reduced considerably. Having said that I now combine my art with my writing which is very exciting as each project I start fills me with inspiration!
Ideally I should keep my pen and ink sketches running parallel with my manuscript, not always easy to acheive.
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