We continue our series of Artist Profiles as we talk to Orcadian artist Nick Gordon about his influences, practices and how lock down had led to cancelled projects, but also new opportunities.
Casting Skate, Garson Shore, Stromness 2019 David Blyth (l) and Nick Gordon (r)
I studied at Orkney College and then at Gray’s School of Art in Aberdeen. I specialized in printmaking and graduated in 2012. I lived in Aberdeen and Glasgow for some time, before moving back to Orkney and settling in Stromness where I’ve been for almost 4 years. I’ve worked at Soulisquoy Printmakers for the past few years, helping to establish a workshop and delivering a programme of classes, projects and print activity. It’s been really good to be able to share the skills I learnt at art school here in Orkney. As for other jobs, and as a means to support the artist’s practice and studio, I’ve done bits of labouring, joinery and bar work, and more recently freelance print and design.
Skate Boys Poster, 2019
Over the last while I have been inspired by skate - and I mean the fish. A good mate and artist, David Blyth, introduced me to the skate and from there we collaborated on quite an extensive project of research and production, diving into all things skate related and exploring the weird and wonderful folklore found within fishing communities of the northeast of Scotland. We developed quite a collection of findings and lovely artworks, from mermaid’s purses to perfumes, medicines, folk-crafts, maritime traditions, textiles, inflatables, bath toys, drawings, prints and performance. The work was shown last year (2019) in Aberdeen and later in Stromness, during Shopping Week. The skate has been sleeping for a while now, but I’m sure it may well arise in some future works. Inspired by this collaboration, I’ve begun another one with another friend; this is in its developmental stage and currently under wraps.
Binscarth Woods & Baikies Stores, 2017
As for artists, I have recently come across Alexandre Hogue, an American Realism painter whose paintings just blow me away - environmentally, they speak volumes. Back home, I keep coming across a lot of lovely Ian MacInnes illustrations in print ephemera of Stromness and Orkney.
As a printmaker, I’m often looking into print cultures and visiting time periods; at the moment I’m quite into Art Nouveau and the psychedelic posters. I like to imagine what it must have been like to witness those when they first emerged; even when viewed now there are moments of ‘wow’ in the detail and design, the imagery really lures you in. It seems like any subject, image and style of the past and present were pulled through a kaleidoscopic collage of that moment in time and evolving perception. What was going on in the collective mind then?!
Pink Floyd Event Poster, 2018
I’m no musician, but I love music and find it a real inspiration as much as anything else. Comparatively speaking, between visual art and music, I’m often pondering their similarities and differences and how they’re experienced. It’s something I take into consideration when making work - I very much like the idea of an exhibition as a show or a gig, and the artist or artists as a band.
Thirst Responders, 2017
Assemblage is my craft, so to speak, print my trade, and collection my obsession. To be honest, I’m worried I may have a bit of a hoarder’s fetish, but it’s definitely a love for materials and how things can fit together in satisfying ways that drives me. I’ll dabble in various processes of making, whenever a specific work in mind may demand it, and can throw my hand to wood, metal, casting, carving, sewing, elements of taxidermy, and lots of print processes. Of late, I’ve been doing a bit of sign-writing.
Flattie Sign install, Stromness 2020
Day-to-day, I like to keep my methodology quite chaotic and unordered; I don’t like to be too conscious of what exactly I’m doing or pre-empt the unexpected. Saying that, though, whether I’m in a charity or pound shop, beach combing or walking down the street, things of interest I come across make their way back to the studio to be dissected, reordered and reworked. There are always patterns of connections that happen, but I like these to come to the surface in their own way and their own time. Perhaps I’m just following my nose.
As well as doing what I’m doing, I’m ear-wigging; that story told on the bus, the line from the pub, sometimes you just can’t match a way that a person just put it. I admire the art of the tongue, the gift of the gab, the wordsmith. When it comes to titling works, I can’t resist a bit of punnery.
D'Arcy Thompson Museum 2018
I like to display the work I make here in Orkney, but I do exhibit south now and then. Over the last few years, I’ve had shows at the Pier Arts Centre, The D’Arcy Thompson Museum at Dundee University, Look Again Project Space RGU Aberdeen, and more recently at the Northlight Gallery, in Stromness. I’ve also taken part in group shows with Moti Collective and various Orkney makers.
I particularly enjoy showing in museums. I’ve only done it a couple of times, but placing works into the historical and factual environment opens up a whole new world of possibilities within those contexts and areas within which I’m working. I would love to do some more of that.
Looking forward, I’ve got a few ideas and plans for showing in different places outwith the usual gallery spots, and would like to curate a show or two of some Orkney makers.
Museum Sign, Studio 2020
Any advice to other artists?
I’ll not tell any of my peers or elders what to do, but hopefully I can pass on some useful advice for the young bucks starting out along the trail.
Create a good set-up for making: it could be the bedroom, spare room, the garage or studio. You want a production facility and the tools to enable you to make the work you want to make. It does take a bit of time to find that, though, and there’s always another tool you want.
Now I’m not a purest in the craft sense, but what I would advise, and to use a lovely expression I keep hearing lately, is to become ‘knackie handed’. It’s never not useful and if you don’t know how, remember you’re never far away from a person who does.
Found imagery, courtesy of the artist
Find places you’re comfortable to show and share your work in. Great shows and great things can be seen and happen anywhere. It doesn’t have to be the gallery or the conventional exhibition space and I’m sure, in this current climate, we will have to be a bit more inventive too, but that’s exciting! Don’t be shy of making the cold call, it’s surprising just how up for things people are.
Know what opportunities are a good fit and what is worth your while. Unfortunately, you only learn this from finding out after, but it becomes clearer.
Let the work and what you do grow and define itself in its own time. Trying to force it can be crippling. Be dubious of the polished definition/presentation of the artist. It can be a bit like false realities portrayed on social media or, say, this artist’s profile?
Be humble in your successes. Sometimes it can be a sale that breaks you even, or a piece of discussion that comes from the work viewed, that makes it all worthwhile.
Water Totem, 2019
How has lock down affected your work and what are your plans as we begin to come out the other side?
We’re going through a vortex of some kind right now and the old world seems to be warping away into the distance. However, since things have settled slightly and a few restrictions have been lifted, it feels like things are possible. I have hope for our return to something normal again in the foreseeable future, but for now I think we’re going to have to weather prolonged periods of uncertainty.
Various plans and jobs have been affected, but I’ve managed to continue to find work and move forward. I have recently completed the sign for the Flattie Bar here in Stromness. Not a public art commission, but it might as well have been and I’ve treated it like my own Sistine Chapel commission. It’s bittersweet to see it up as the pub remains shut, but we can look forward to its opening again someday.
Also during lock down, I was very humbled to receive support from The Henry Moore Foundation. This has really helped me keep things moving ahead and I have already invested in pieces of equipment, tools and materials in preparation for new work.