You're listening to Yale Radio WYBC.  This is Raynard Carry with the lives of the artists, architects, curators and more.


Today I'm talking with Clement Page. Clement thank you so much for being with me today.


CP Glad to be.


BC So Clement, tell me a little bit about where you are.  You're in Bristol right now?


CP Yes


BC I want to talk about your studio process, but what does your studio look like and what are you doing?



CP At the moment it's actually quite a large room in my house, because I'm in the process of moving to a bigger studio in an industrial building.  At the moment it's quite intimate, I have like a series of portraits I'm working on which are of Sigmund Freud and then another two series of paintings, so I'm working on three series of paintings if you like, cycles and they are quite stylistically different so I kind of work simultaneously on three or four different series at the same time, so if I get bored with one, I can move onto another series.


BC So let's talk about those three series maybe if you don't mind going through each one.  The one on Freud, when did that start?



CP These painted portraits of Sigmund Freud, they began maybe, not long ago, about two months ago and they are, actually some of them are printed, using this new method of ultraviolet printing onto primed linen canvas and they are based on three different photographic portraits of Freud from 1930's which was a time when he was being silenced if you like, not just silenced by the Nazis but also by the psychoanalytic community at large as well because some if his ideas were quite tricky/difficult at that time. What I'm doing is, I'm actually painting in a sort of photo realistic manner in a way, this portrait which I've also printed onto canvas and I have it next to it and I'm kind of painting from projecting the photograph as well as looking at the printed photograph but I'm only painting the eyes and the nose and that part of the head and the hand holding the cigar but the rest of the painting is actually kind of overpainted if you like with this quite abstract kind of gestural colour so in a way it's using this kind of contradiction of photographic language and this abstract language.