Jim McLean is a Scottish artist who gave up a multi-award-winning career in journalism to paint. His practice evolved from photography (with portraits in collections like the National Portrait Gallery, London, and Kelvingrove Art Gallery, Glasgow). His self-portrait The Artist And His Dog features in the Ruth Borchard collection. He lives and works in London and Scotland.
1 - Could you explain your practice?
I always wanted to be a painter, but started off doing photography because I could manage it with a career as a journalist. Eventually, the overwhelming desire to paint pushed photography - and the career - aside.
Basically I see painting as a solitary path. Some people might want to be in a collective of some form, but when it comes down to it painting is self-expression.
I prefer to avoid joining any group spouting exclusivity and let’s face it - we have all seen so many shit group shows with average work making absurd claims.
I work from home - the cost of a decent studio in London is insane. I enjoy diversions such as family life and friends and use “those kinds of days" to chew over ideas and visit lots of galleries.
I do lots of thinking about work but when I start to paint I want it to happen fast, so I rarely do sketches - by then I know where I want to go and I want it out - just about without thinking. Then scraping back, building up, and pondering the leftovers can take weeks. When I get an unusual feeling, and if I see the painting is standing up for itself, it is finished. I put a painting in this state on the wall for a while and then decide if it lives…or dies. I’m looking for something different, unique, original - aren’t we all?
2 - Is art relevant today?
The world is awash with images, and most of them are capable of causing brain death. But I accept that painting is what I choose to do. Like it or lump it.
Art teaching schemes are flourishing, as are artists grouping together to become vanity curators who hire a venue to put on a show - but this is a sign of desperation.
In my experience, the gallery system is a rude closed door to most. Emails get binned. Mentors are out for themselves. Artist Opportunities typically come with an entry fee. You might get lucky with some kind of CV boost. But is it relevant? It’s an iceberg. The tip looks pretty but below the waterline it’s freezing.
3 – We are always asked what other artists influence us, we want to know what art you don’t like and which influences you?
The image is everything. I enjoy surfaces and textures. I like to figure out how a painting was made. Good art goes from my brain to my stomach instantly and makes me catch my breath. I get it from old hands like Auerbach, Baselitz, Dumas, and Bacon but also from some new painters who use the medium in extraordinary ways - like Daniel Crews Chubb, Alexis Harding, and George Rouy.
I don’t like photography. Killed by digital. I don’t like scratchy landscapes. I don’t like classic portraiture. I don’t like trendy art - I’m fed up hearing about reclaiming the female gaze and all-woman shows. I don’t think we achieve equality today by being sex, gender, colour, race, or anything else exclusive. But I accept it is fashionable.
4- If you could go back 10-20 years what would you tell your younger self?
Hope springs eternal. Find a small venue with great footfall, rent it, open a gallery, and show my own work and other stuff I like.
5 – If you could go forward 10-20 years what do you hope to have done or not done?
Avoid obscurity.
Tor, 2023. Oil on canvas