John A Blythe is an artist and educator based in Oxfordshire. His practice is situated in and beyond the realm of light and time-based image-making. Blythe’s interest is as much in the process as it is in the subject.
In Blythe’s current work, he is interested in the notion of ‘Inframedium’ (Westerman), of ‘practising photography [painting?] by other means’ (Richter), playing with the boundaries of the photographic object. Stripping away the ‘Apparatus’ of the camera and the mediation of light, and thus stepping out of the arena of the technical image, I am exploring a range of gestures that reveal themselves through the innate phenomenological potential of the material.
Blythe’s practice is informed and supported through the integration of his artist-teacher identities.
Self-taught or art school?
I’m not keen on the term ‘self-taught’, I think we all learn from others whether we do it formally or not. I had no formal education in photography for nearly 10 years before I attended an evening course with the amazing Rotimi Fani-Kayode. This was a real turning point for me, and although it was a few more years before I went to City of Westminster college to do a basic City & Guilds Introduction to Photographic certificate, I was already changing the way I took photographs. This was the beginning of my life as a working photographer. I then worked as a commercial photographer for 20 years before I finally went to art school to do a Masters in Fine Art at Oxford Brookes. This really shook things up, my practice is completely different now. I have changed my approach to how I understand, see and think about my work.
If you could own one work of art what would it be?
I really like the diversity of art and I’m always discovering new artists and works so the idea of picking one is hard. If I did, it would be to ensure it was available for all to experience. In that case, I would own a Celestograph by August Strindberg, but only if it could be on a permanent rolling exhibition tour. Or, a painting by Clyfford Still, for the same reasons.
How would you describe your style?
If I look across my work, maybe they all share minimalism, a visual simplicity. I think the aesthetic is important, it’s definitely not ‘the thing’ but I do feel it has a value, even if it’s only in the presentation of the work.
Is narrative important within your work?
Yes, in as much as all my work addresses aspects of time, place, movement, the thingness of things and the connections that may exist between them. I like to explore and develop an idea over a period of time. The narrative is first in the development of the work itself, but the works also reference a narrative of connections and a narrative of the development of meaning.
Who are your favourite artists and why?
Very hard, if I wrote a list of my favourite artists each week, it would be different every time. Turner is one that I think would always be there, I have spent a lot of time at Tate Britain in the Turner galleries. There is something about his painting’s that is beyond words. Garry Fabian-Miller would also always be there. He was one of the first experimental photographers I came across, the inventiveness of his work is a real inspiration. American abstract expressionist Clyfford Still, one of the few artists whose work has made me cry. I’ve recently been researching artists who address or use photography so Richter would be on the list, I’m inspired by the depth of his thinking and his devotion to the process. Laurel Nakadate, her Lucky Tiger series really says something fundamental about the nature of ‘the photograph’. Catherine Yass, I like the way she negotiates control with both the subject and the material. The list could go on.
What or who inspires your art?
Above all, curiosity. Often my work starts with a question I find I’m asking myself, usually when I’m doing something mundane like brushing my teeth. I have a very active inner dialogue, so there is always some kind of conversation going on in my head. I tend to either have a question I want to explore answers to, or I feel the need to make something and then have to work out what it’s about, although most often it’s the former.
Where’s your studio and what’s it like?
I have a small studio at home, a shed in my garden, which has been great during the Covid-19 lockdown, as my main studio has been closed, so at least I have been able to do some work. My main studio which is in Oxford, is a shared space with two other artists, although we all seem to have very different body clocks as we are hardly ever there at the same time. It used to be a dental practice and it’s in a shopping centre. It is just an empty room with three blank walls and the forth side is north facing windows all the way across and from about waist height up to the ceiling. So, the light is great. I prefer having a studio away from my home, I like the discipline of going to work.
Do you have any studio rituals?
I like to listen to music, the radio, or a podcast, I always take a speaker with me and put something on. I find write-on whiteboards really useful for developing and visualising my thoughts and sticking up images and bits of text. A while ago I discovered this material you can buy on a roll which has a write-on/wipe-off surface and a metallic backing so you can stick magnets on it. You can put it up like wallpaper. I use it all the time.
What are you working on currently?
A couple of things. The work shown here Chromogenesis. I’ve been working on this process for a while now. I’m interested in alternative ways of working with photographic material, so I started playing with colour paper and this is where the work is so far. The question that started this process off was ‘Is it possible to make photographic images without light?’ I’m interested in sustainability in art-making, I’m part of The Sustainable Darkroom Project run by LAPC. I’m currently involved in my second residency with them, working on making plant-based film and paper developers. I also run a community darkroom in Oxford but we are closed at the moment.
Where can we buy your art?
www.johnblythe.co.uk
What are your ambitions?
To keep making work, to keep educating, as an artist. To keep exploring and never lose my curiosity. To keep growing and evolving. To enjoy the experience along the way.