Art Reviews
Alexander Owen's debut solo show
Moosey Art
13/04/24
It is clear to see that we are living in a digital world, with advancements being made every day that alter the way in which we live our lives.
From the range of new technology we have at our fingertips, to the scope of social media platforms that seem to dominate our society, this digital era has provided us with an abundance of exciting opportunities.
And one industry which has begun to embrace these opportunities is the arts, with a new era of fascinating pieces beginning to emerge. Between the 14th March and the 6th April, London based artist Alexander Owen brought his debut solo show, ‘Harder, Faster’, to Moosey Art Gallery, complete with powerful, vivid pieces derived from 3D rendered images that explored the relationship between ‘abandoned industrial landscapes and emerging contemporary nightlife.’
A few weeks ago, I caught up with Alexander to discover his journey as an artist, the inspiration behind his recent collection of paintings, his creative process, as well as his plans for the future, too!
When did your journey as an artist begin?
Art has always been present as a hobby throughout my life, but it wasn’t until I was around 17 that I considered that this was something that could actually be a career. This was a complete 180 to what I had considered beforehand as I don’t come from a background that was engaged in contemporary art or really understood that it could be more than just a hobby.
How would you describe your pieces?
Someone described the works in the show as ‘sexy’ and I think that’s a pretty good reaction. They stay true to their digital origins with super sleek and glossy finishes, high shines and punchy colours. They’re a translation of digital media to hand made painting but they are paying homage to the image making process rather than trying to change it.
What was the inspiration behind your most recent collection of paintings, ‘Harder, Faster’?
This series started as I began to explore more nightlife in and outside of London, especially surrounding techno and dance. I thought I had reached a point where I was over going out or had “outgrown” it, but this new direction reignited my love for great nightlife. I was noticing this intrinsic connection between nightlife and the industrial spaces they were being held in - parties in warehouses, old power plants, shipping yards.
The music almost reflects the spaces when its heavier and harder and the connection spills over into the way people dress, how events are promoted, etc. Its got an amazing raw energy that just ties in so well.
What impact do you hope to have on those who engage with your art?
Any time someone is looking at a work the piece is already doing its job. Im not someone who thinks you have to have a hugely academic or emotional engagement with every work you encounter, sometimes just appreciating a painting for its aesthetic qualities and craftsmanship can be all the viewer takes away and that’s totally fine. I think most people who see my work in person have first encountered it online or through a screen in some form and they aren’t quite sure that these are actually paintings so being able to see that realisation switch in person is always very entertaining.
How does it feel to have your debut solo show with Moosey (and what has the response to this been like so far)?
The team at Moosey are all incredibly supportive and engaging with the artists they work with and exhibit. I think you can feel the excitement and interest in the show just from the work and ideas they have been able to make happen with the install and whole show experience. In Norwich particularly it seems that Moosey have cultivated a community around them who are equally as invested in the shows that are happening and they want to engage and be a part of that. The opening night of ‘Harder, Faster’ was so exciting because it drew in a big crowd that was so varied, it was interesting to see what everyone made of the works and the show overall.
How important do you believe it is to celebrate the community these liminal spaces bring together?
If we’re talking about nightlife and techno in particular, these spaces are a melting pot for all types of people to get together and enjoy a shared interest. But alongside that, nightlife in general acts as a sort of catalyst for creativity and ideas. These spaces and events are more than just big parties (although that never hurts)
What power do you believe finding art in unconventional places holds (industrial landscapes)?
Art in unconventional spaces can introduce work to a totally different audience that would otherwise never really engage with it. Galleries are amazing places to showcase the incredible talents of so many artists, but not everyone feels they can enter these space or even knows about them. Where or how work is displayed can change its context and audience so drastically.
Describe your creative process
All of my paintings start as 3D rendered images that I make from loose ideas. I don’t keep a sketchbook of drawings but rather use the 3D programme in that way. From there I can create whatever I want and essentially set up a still life scene controlling placement, lighting, environment and more. Once I’m happy with the composition, I transfer it over to the canvas and that’s where the painting starts.
My painting process is a lot of taping and masking so as the piece progresses you see less and less of the work. Its not until the very end when I remove all of the tape that I actually see what it is I’ve made and how it all looks together. People often tell me that it seems very ordered and technical and I think that stems from the images’ origins.
Do you have a favourite piece you have created?
I don’t have a single favourite piece from the show, but I do have favourite sections or details in each one. I’m a sucker for anything shiny or metallic and really enjoy pushing that in the work, anywhere I can punch up highlights, flares and shiny reflections I do because it is always my favourite part.
What power do you believe art holds in our society?
Art has the ability to connect with people all over the world as it is a universal visual language. You don’t have to necessarily know the entire backstory or process of a painting to appreciate it or have some kind of experience with it. Art is so accessible now through the internet and social media it has the power to reach people who otherwise would never have seen it.
What advice would you give to any aspiring artists?
Be open to change and take your time. Art is a lifelong marathon not a sprint and sometimes that is for the best. The work I was making just a few years ago is vastly different to what I make now, I’m glad I gave myself the time to just develop what I was doing and allow it to progress naturally and this is something that is continuing now.
Have you got any plans for further collections in 2024?
I want to develop ideas from this show further and see how I can look at the link between the rendered images and the paintings more. Currently all of my compositions exist in these digital voids and the objects float around. I might begin to pull objects and environments from these industrial spaces to build out the digital world that I am recreating.
That is one of the advantages of how the paintings are made, I can make endless iterations of the same scene if I wanted, making tweaks here and there, or doing something that would be totally impossible in the real world and seeing what comes from it.
And, if you want to keep up to date with the work (and amazing artwork!) of Alexander, then you can check out his Instagram (@alexanderjamesowen)!