9 Minutes with XL Catlin Art Prize Finalist - Christopher Gray
Another 1 of 7 XL Catlin Art Prize finalists: Christopher Gray. With work spanning widely across the board, Gray really likes to push boundaries within the production process, “I began to make filmed performances and later I also began to work on live performances. I have recently begun to make films that focus on the theme of medieval violence.” His new and exciting pieces are a clear expression of his compelling nature towards art and his need to express and create, but this doesn't always come with the smoothness of a 007 pick up line, “I have grown to appreciate the infinite variations in people. And I have learnt that being different isn’t necessarily a bad thing.” Gray is an incredibly interesting artist, working with anything from puppets made from chickens to medieval violence.
RL: Neal, tell us a little about your craft. Could you give me a brief explanation or definition of what you think your art is?
CG: I re-form my hands by attaching prosthetic limbs to my fingers so as to replicate the human figure in motion. I have endeavoured to bring the physical dynamics of pugilism into my practice. Although this involves replication (with the use of my hands) it is also a demonstration of a desire to become something more. I have recently begun to make films that focus on the theme of medieval violence. I have drawn inspiration from observing the way medieval violence has been replicated in contemporary fiction. I am compelled by the duality of fear and fascination that it evokes.
RL: How has your art developed over your creative career?
CG: When I began to develop my puppets within the context of fine art I was focused primarily on replicating boxers with my hands. At this point I began to make filmed performances and later I also began to work on live performances. I have recently begun to make films that focus on the theme of medieval violence.
RL: How has your art impacted your life and perspective?
CG: I have always been compelled to make art and through this I have met some very influential people. It has coursed me to study aspects of life that I otherwise wouldn’t have. I have grown to appreciate the infinite variations in people. And I have learnt that being different isn’t necessarily a bad thing.
RL: What are the particular methods you use to create your pieces?
CG: As well as latex puppets I make puppets out of chickens. I start with a whole chicken, and I work through the night so that I am ready to perform before it begins to putrefy. I am careful as I remove the skin. It needs to be intact. I break the bones of the chicken and straiten them out so they resemble the skeletal structure of a human. I begin to re-shape the chicken into the form of a human body. I sow the flesh together to make it tort. When it resembles the human figure I begin to replace the skin. I turn the skin inside out so that it looks like human skin. And I sow the skin tightly over the flesh.
RL: How has your home and personal life influenced your work? Who or what is a source of key inspiration?
CG: At home we watched horror films from an early age. I was always fascinated by the replication of violence in film. I have seen how the graphic nature of it has increased over the passed fifty years. In particular I have drawn inspiration from the way medieval violence has been replicated and I am compelled by the duality of fear and fascination that it evokes.
Christopher was speaking exclusively with Roshan Langely in the fourth of After Nyne's interview series with this year's Catlin Art Prize finalists. A panel of judges will select one artist to receive an award of £5,000 at a private ceremony on Tuesday 17th May. An exhibition of all finalists work will be on display from Thursday 5th – Sunday 22nd May 2016 at the London Newcastle Project Space, Shoreditch.
