Reclaiming Power: the art of Richard Buchanan
Richard Buchanan and I met a few years ago when he asked me to come up to the New York Academy of Art, where he taught, and give a talk to the students about working with galleries. As curator for Era Contemporary, I hoped to give them a little bit of insight. It was a wonderful experience and I found Richard to be a warm and engaging artist with a passion for imparting his knowledge of painting with his students. I still have the painting palette he gave me as a gift! Since then, Richard has participated in several exhibitions I’ve curated, and is always a delight to work with. His artwork is intense and deeply felt, with a strong emphasis on figuration. He is also a runner-up for the 2020 Era Contemporary Artist Prize. Enjoy this deep dive into his process and intention within his work in this interview.
EC: When did you become interested in art?
RB: When I was 4 years old, I remember laying in bed thinking about what I wanted to dedicate my life to. I remember taking my first field trip to the Denver Art Museum. I saw a large red Rothko painting. I was so overwhelmed that I fell back in place onto the museum floor. At this moment, I knew what I wanted to do for the rest of my life.
EC: Tell us about the themes in your work recently.
RB: The most prominent theme in my work is the horror of being trapped or incapacitated. My most recent solo exhibition entitled, Self-Nemetic, was about abusive relationships. When I first started making the work, I saw myself as the reason for my unhappiness. I depicted myself as the captor and victim simultaneously by painting myself trapped in a wall. As the work progressed, I accepted that I was in an abusive relationship, and the wall became a metaphor for abuse.
EC: What is your process like for creating a painting?
RB: First, I have to dig really deep to find out what is holding me back. Whether it’s myself, or something else. I like to isolate myself from outside influences so I can focus on creating something that I feel uniquely connected to.
Once I have an idea, I do studies before building a canvas. When I’m ready, I spread a sheet of linen on my studio floor to determine the size. This helps me visualize what it will look like in a gallery. I know the right size when I get an excited feeling. After the canvas is stretched and primed, I start with an anatomical sketch from imagination. I draw structurally so I can visualize how the underlying geometry of the human form will move in space. Next, I start an imprimitura and create a wipeout drawing. For source material, I look at myself in a mirror. I also use my studio walls, and seemingly ordinary household fixtures like molding, hardwood floors, and power outlets. After the wipeout is complete I paint directly from life.
EC: How have your personal experiences impacted the work you make?
RB: My personal experiences are the main source of inspiration for my work. By getting them out onto the canvas, I like to think I connect with people who see my work.
EC: What do you hope people take away from your artwork?
RB: This is a really great question! I am always thinking about the function my work serves for the intended audience. For Self-Nemetic, I wanted the paintings to be so large and monumental that if my abuser or any abuser saw them, they would feel small and insignificant. In a way, it was to reclaim power for myself, and hopefully for anyone who has suffered abuse as well.
But this isn’t always what I want the viewer to take away. As a figurative artist, I think we have a special power to connect with people through our work. In the past, I’ve altered my facial expression to create portraits that appear sympathetic. I envisioned a collector hanging it in their home so that they could always have a friend.
EC: Who are some of your biggest inspirations in terms of other artists, past and contemporary?
RB: Some of my favorite painters are John Singer Sargent, Anthony Mancini, and Mark Rothko. I’m also inspired by my sisters and the art of my friends.E
EC: What other medias influence your work (books, film, music)?
RB: Horror books and movies have a huge influence on my work! I’m currently reading House of Leaves and I love it.
EC: What is your vision for the next few years in your art career?
RB: This is such a large question considering how much the world has changed since I applied with ERA Contemporary. I’ve realized I can’t give the same answer I would have when I applied in December.
Recent events make me realize how privileged I’ve been to always have an exhibition opportunity. Above all, I just want to keep painting. My vision for the next few years is to keep working. My plan is to be flexible and creative in finding solutions to exhibit work. There is no doubt that the game has changed completely. But that doesn’t mean it’s over.
EC: What brings you the most joy about your art practice?
RB: The tactile experience of creating physical work. There’s nothing I love more than the texture of paper. It’s incredibly satisfying to strike a charcoal pencil across a good sheet of paper. I love painting with oil. To me, oil is like driving a manual car because you have more control over the medium. It can be buttery and full of body, or thin and fluid. I even love building my canvases, the texture of the wood, and the way linen looks stretched is so rewarding to me.
EC: What is art, and what’s it for?
RB: I’m hesitant to provide an answer to this question. Being a relatively traditional figurative artist, I’m actually incredibly interested in art that breaks boundaries and pushes the envelope. Deep down I want to believe that art has transformative powers and infinite possibilities.
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To find out more about artist and educator Richard Buchanan, visit:
Article by Jessica Libor, artist, curator, and teacher. Find out more about Jessica at www.jessicalibor.com , www.eracontemporary.com , and www.thevisionaryartistssalon.com .
