Behind The Door

Will Teather

29/03/24

Art can often be burdened by an abundance of stigmas- from it being seen as a ‘risky’ industry to enter, to visiting galleries being seen as an ‘elite sport’- it can often make it feel inaccessible and monotone for many of us. 

However, many artists from our fine city are on a mission to bring the colour back into art! 
Throughout every Saturday in March, local artist Will Teather has opened the doors of his studio in Tombland to the public, allowing us all to engage with his fascinating pieces, which are sure to spark our curiousity! 

A week ago, I caught up with Will to discover his journey as an artist so far, what inspired him to open his studio to us all, as well as his exciting plans for the future, too! 
 
When did your journey as an artist begin?  

When I created a wax relief of a white swan on a taster day for primary school. I took great delight in the swan being suddenly revealed by a wash of blue poster paint over the pale wax. A teacher walked past and said "Ooo, that's good." I now realise he said that to all the kids but it was too late, my path was set.  
 
How would you describe your pieces?  

Depends on the particular piece- I am always plotting new directions in my creative journey.  Some descriptors that often apply include "magical-realist," "carnivalesque," "uncanny," "storytelling," "emotional," "mischievous" and a sense of "spectacle."   
 
What impact do you aim to have on those who view/ engage with your art?  

I want to blow their minds.  Take them somewhere else.  I want them to be moved, surprised and curious.  I also value beauty and the craftmanship of painting and hope people enjoy those elements to the work.   
  
Describe your creative process! 

It depends on what I'm working on.  Sometimes new ideas and pieces evolve out of experimenting with a new techniques- often limiting my choices actually opens up new possibilities.  Sometimes it is more about having a vision for somewhere else to take my artform and then working out how to get there, like with my panoramic spheres where the idea came first, the exact process later.  The goal is always to take painting on a walk somewhere new, but without losing the things I enjoy about the medium as both a maker and viewer.  
 
What impact do your interests in theatre and music have on your art? 

 
Massive.  I listen to music whenever I paint and it definitely feeds into the mood of the paintings and energy of the brushwork.  I also draw upon performers for inspiration.  I often invite theatre performers and musicians to model for me.  I find they bring great props, fabulous costumes, are less self-conscious and their creative mindset makes my job easier in terms of getting good poses.  Personally, I find the illusory nature of performance enters into dialogue well with the artifice of painting, creating an interesting interplay between reality and fantasy.   
 
Do you have a favourite piece you have created? 

No, they are all my babies! 
 
Do you like to experiment with your pieces?  

Endlessly, new colours and mediums are still being developed by paint manufacturers all the time, and that is very exciting as a painter - it drives innovation and keeps artwork fresh. 
 
What challenges, if any, have you faced during your journey as an artist (and how have you overcome these)?  

Big question.  To be honest, I have faced many challenges over the years.  It is not a straightforward path.  My parents were initially less than enthusiastic about my going to art-school - I think they were convinced it would end in tears and be incredibly insecure.  So, I had to go against their wishes to pursue it, which was difficult.  It then turned out the kind of painting that excited me was not valued by the London art schools that I studied at.  Then I found out that art was indeed incredibly hard to make a living from, particularly in my 20s. I moved back home at 25 with my tail between my legs before finally getting a few decent breaks. 

  
I think you have to get very used to rejection and a lack of security, particularly early on.  But that gets easier as you get some successes and make enough in the good times to cover any quieter patches.  Overcoming those initial difficulties is to do with perseverance, self-belief, being willing to do the boring bits to make the whole thing work, being outward looking, making sure people see the work and valuing yourself.   

 
With many of your pieces having a historical focus, how does it feel for your studio to be situated in the rich historic setting of Tombland?  

I love it.  Totally love it.  The studio/gallery setting in Tombland feels almost like an art installation.  I am already reading up on myths and folklore surrounding the area and thinking about how this could feed into the work.   Having a permanent exhibition there also opens up creative possibilities for the space and how I can continue to transform it through new art objects. 
 
What made you to want to open your studio to the public?  

I like engaging with people, it breaks up the day when I am painting.  Also, there is something deeply satisfying about finishing a painting and being able to put it straight on public display.  The response has been brilliant so far, I have had some really lovely encounters and sold work direct from the space.  The odd thing though with a public space is that it makes you sort of public property- anyone can come in and talk to for an hour.  Which if they are somewhat mad can be quite challenging, although that is not the norm.   
 
Engaging with, and viewing, art can often be seen as an ‘elite sport’- how do you believe we can change this?  

I smile at people who look in the windows of my studio and have always tried to be friendly.  I think putting work in very public spaces helps.  I often create art trails across city centres and work with museums and other public bodies to bring work into less scary environments.   You don't need an art degree to decide if you like some thing or not, and I think making the general public feel that their taste is valid is crucial to broadening art's audience.  

 
 
Do you believe the intention of the artist is more or less important than the interpretation of the person who is experiencing the art? 

 
Depends if you are the artist or the other person! I don't think art can or should dictate, it is more a stimulus. 
 
What power do you believe art holds in our society? 

 
It is often the main thing that is preserved from age to age.  It acts as a way of connecting people, beyond language, epochs and cultures.    
 
What is your favourite thing about the artistic community of Norwich and Norfolk? 

 
It is full of love, support, and like a giant village (most of the time!) 
 
What advice would you give to any aspiring artists?  

Don't have a plan B. Do have a part time job to start with but try and make it related.  Stay true to yourself in the work you make but share it as widely as possible.  Look at lots of other art, both to get an idea where your work fits in and how it could be improved. 

  
Have you got any plans for 2024?  

Lots and lots- in particular I have a show at Mana Art Gallery in Aylsham in May, Red Eight Gallery in London this September and an art trail of globes in the pipeline for a new city.  I always finish the year with Art Fair East, the region's largest art fair which this year takes place in November at the Assembly House, Norwich.  And of course, working and exhibiting in my new Tombland space on many new creative ideas.  Keep an eye on my website for further announcements.   

   
And, if you want to keep up to date with the work (and amazing art!) of Will, then you can head to his website, at- www.willteather.com, or check out his Instagram (@willteather).