of the Tate Gallery's Turner Prize failure to notice that there
are any contemporary painters in the country and that Turner painted
pictures, rather than constructing plexiglass ceilings, Stuckism
International (London) presents four contemporary painters in
The Real Turner Prize Show 2002.
the bulk of artists in this country, who still paint and who are
ignored by the narrow tastes of the Turner Prize jury headed by
Sir Nicholas Serota with his penchant for novelty at all costs.
all trained, accomplished artists who have a strong outlook on
life and a powerful ability to create contemporary visual images
which communicate their vision. They are all in 'mid career' and
have dedicated many years in developing a high degree of skill
in their art.
Tate Turner Prize should ignore artists of this calibre is a testimony
that something is very amiss in the way the nation's gallery of
modern art is currently being administered.
Guru, best known for her portraits of transvestites in beehive
wigs, is adding wildlife to her wild life. When asked if she
is selling out, Ms Guru replied that she is just as excited
by ducks, geese and pelicans as by men in drag, confirming Quentin
Crisp's comment that Ms Guru is indeed "weird". Ms Guru's history
spans fetish clubs and a life long fascination with dames with
dongs. Even her own wedding was gender switched, with bride
Sexton in a dress and Ms Guru in top hat and tails. "I enjoy
gender confusion and delight in nothing more than to lift up
a gal's skirt only to discover a sundial," Ms Guru says.
(notes on the painting): I often paint men and women in beehive
wigs, because I like men in drag and met my husband, Sexton
Ming, when he was in drag. Fanny is a transvestite friend of
mine. I paint quickly, though this has slowed down since I have
started using oil instead of acrylic - it gives greater depth
and intensity. I like traditional painting and am more inspired
by a trip to the National Gallery than Tate Modern.
24.5.66, Ohio, USA
Education: Fort Hayes Career Centre, Columbus College
of Art and Design, Ohio State University (BA Fine Arts)
Exhibitions: First Out, London WC2; Manto's cafe, London
W1; Getto, Amsterdam; Waldos on High, Columbus, Ohio. For group
shows see CV.
Prizes: "Painter of the Year" - Getto, Amsterdam Pride;
"Travel writer of the month" - Worldsurface.com.
Other activities: was a member of 'Voodoo Queens' pop
group - performed on The Beat and Peel Sessions. Now plays guitar
in The Tasty Ones and the Deptford Beach Babes. Certified Open
Water Scuba Diver (i.e. wears rubber while looking at fish in
More paintings by Ella Guru: Guru
Artists Collections | Stuckism
I am fascinated by celebrities on a human level. When I see
them, I always see them as human beings, not famous people.
I'm interested in them on a human level, but I don't know why.
Just the fact that they are human beings that have taken on
a superhuman form, but they're not really up to it. I don't
really think it's what humans were meant to do. I am fascinated
by the mad things they do every day.
In a way, the actual celebrities I paint are not important -
I find an image that is interesting to paint. Perhaps I'm trying
to find out if there is something really there. I pick the most
glamorous image I can find and try to make it more human, to
try to make something that is beautiful and has depth, not just
in a decorative way. There's very few people I would feel nervous
about meeting. I've met people like Mick Jagger - I think what
he does is great, but I felt nothing when I met him. For the
last ten years the only people I've admired have been painters
- most of them dead - and it's not really the artists I admire:
it's the paintings. I
love the purity of the experience when it's done in the right
way. Thats why I will always love Vermeer, van Gogh, etc. above
Mucha and Warhol. It's something I can aspire to. I started
painting in an art nouveau style because it seemed the most
derided of art forms, and I found it interesting that people
resented it so much. Later there was a resurgence of interest
(notes on the painting): If I was to tell the truth,
I would say that I painted her because someone asked me
to - it was a commission. It's in the same style as other
ones. I look for images that will create a good composition,
but that's a small part of it. With the art nouveau ones,
I'm looking to give the person a kind of depth - what is
essentially a shallow subject, and it's an interesting experiment.
To me, the painting has a completely different feel to the
one the original photograph had. I hope to take a very confident
public image and make it into one that has more vulnerability
in it. Some of the objects I pick are light-hearted, though
I don't want to say. Sometimes I fall foul of irony, which
I don't like either. I may have thought of them in an ironic
way, but by the time I've painted them, they aren't any
more. When the paintings work, they seem to transcend that
light-hearted imput and they seem to take on a fuller, more-rounded
significance, and contribute in a genuine way to the feel
of the painting.The objects in Madonna are to do with working-out
and being healthy - dumbells and apples.
7.5.60, Burton upon Trent
Education: Burton Grammar School, Burton on Trent;
North Staffordshire Polytechnic (B.A. Hons.)
Television work: includes set design and live appearances
for Tyne Tees Television, and features on his art.
Exhibitions: Newcastle Arts Centre; Freuds Gallery, London;
"Art Out" Gallery, Stoke on Trent; Pullit Gallery, Camden; Brain
Gallery, London; Freuds Gallery, Oxford; The Arts Gallery, Brighton;
The Playhouse, Newcastle upon Tyne; The Playhouse, Newcastle
upon Tyne; The Head Of Steam, Newcastle upon Tyne. Other
activities: guitarist in the recently-reformed punk group
with Paul Harvey
More paintings by Paul Harvey: Artists
Collections | new
Paul Harvey site | old
Paul Harvey site
an artist from a working class background, I have always felt
somewhat of an Outsider in the contemporary art world and this
is reflected in my choice of image. I paint people on the edge
of society, often struggling to fit in. I try to circumnavigate
the usual art bullshit and create direct and passionate imagery
which will connect with a wide audience.
the past few years I have been painting urban tableaux derived
from real street incidents and characters. These pictures
have been a bit too strong for the usual commercial galleries
and buyers, who seem to prefer their shocks to be intellectual
rather than visceral.
on the painting): It was a real incident. I was in a charity
shop, when this bloke came in. He was screaming obscenities
into a mobile and sweating. He was carrying cans of Tennents
and sweating, and was obviously on something. He was very
agitated. The words that are written on the painting are
what he said to the woman behind the counter in the charity
shop. After he'd left the shop, the woman behind the counter
was quite shaken up, and I said I would paint it - it's
the type of thing I paint. She looked at me as if I was
mad. It just one of those sharp emotional urban moments
that I paint.
Education: Myers Grove Comprehensive, Sheffield; North
East London Polytechnic (BA Fine Art).
Exhibitions: Open Space Gallery, London; Museum of London;
ICA New Contemporaries; Alternative
Arts, London; Battersea Arts Centre, London; ACAVA Central Space,
London; Candid Gallery, London; Dock Street Galleries, London;
Cleveland Gallery; Wolsey Art Gallery, Ipswich; Philip Graham
Gallery, London; West Soho Gallery, London; The Worx, London;
William Jackson Gallery, London; Phoenix Arts Centre, Leicester;
Whitechapel Open, London; Air Gallery, London.
'From the Street: paintings and drawings' (Editions Aubrey
Walter); 'The Sexual Perspective' (Routledge); 'Damn Fine Art'
Collections: Museum of London, private collections.
paintings by Mandy McCartin: Stuckism
I used to paint invented characters and situations, in a
straightforward, 'transparent' manner; the pictures have been
about my own experience of life, as an artist and as a member
of contemporary society. Recently, though, I have begun to feel
dissatisfied with my tonal, 'English' manner and wanted something
more telling in the way I paint. This has led to a general reappraisal
of composition, to the point where I am currently trying to
make what my tutors at the Royal Academy would have called a
'bad' painting, whilst still retaining the narrative elements
and the clarity of vision to which I aspire. It's not like suicide
chess, where all values are subverted, but it's almost like
from the Abbatoir (notes on the painting): I was
thinking about dying and the last moments of life - which
are the most important. It shows the discomfort of life
we walk through. It contains the cycle of birth-life-death,
which we are all part of. The ideas are informed by a background
of Buddhist reading. The top of the painting shows a field
of sheep. We are all oblivious of the blood we're covered
1965, Evanston, Illinois
Education: Kent College, Maidstone College of Art (BA
Fine Art) and Royal Academy Schools
Member: New English Art Club
Prizes: Countess Enid Driscoll Spaletti Watercolour Prize;
Royal Overseas League Travel Scholarship; Sir Ernest Cassel
Educational Trust Award
Exhibitions: Star Gallery, Lewes; Cadogan Contemporary
Art, London; Sadlers Wells Gallery; KIAD Gallery, Maidstone;
Coombs Contemporary, London; Royal Overseas League, Edinburgh;
Royal Overseas League, London; RIWP and Winsor & Newton Young
Artists Award; Bruton Street Gallery,London; RA Summer Exhibition;
Mercury Gallery, London; Greenwich Theatre Art Gallery; Bankside
Gallery, London; The Mall Galleries, London; Business Design
Centre, London; BP Portrait Awards, National Portrait Gallery;
'The Discerning Eye'; Casa de la Boltura, Algvidan, Spain; Chevron
Calendar Artists, ICA.
More paintings by Charles Williams: The
Sheen Gallery | Artists
Collections | Stuckism