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My mom made paintings with me as a kid and it was something I was always inspired by since then. Then I went to school and started showing at galleries and people kept showing me support, so it showed me I was doing something good.

So what’s your art about?

I explore shape, space, art history, color, and context.

How important is the emotional aspect of art?

My artwork changes everyday because I’m always keeping track of and reproducing processes throughout different bodies of work. Sometimes the actual process of painting can be emotional due to the building and deconstructing of layers in the work. It takes time to produce my work and once I change it, it can affect me because I feel that sometimes those changes are drastic.

What are you currently working on?

A minimal series in which I use just a few colors and shapes throughout the body of work.

Have you been to any exhibit or seen a work of art that transformed your life or change your way of thinking?

Several times I’ve been to great art shows. For example, the Francis Bacon retrospective at Met. The Jules Olitsky retrospective at Goldman Warehouse. I’m influenced by a variety of other shows and artists.

You are part of the upcoming group show Futurespective. Can you tell us more about the exhibit?

I believe in the group of artists that were chosen to be a part of this show. I believe they are all great artists.

Do you listen to music when you paint? What is your perfect soundtrack?

I love Spotify—it allows me to listen to all kinds of different and related artists. Sometimes, I enjoy listening to the Miami Heat or Miami Hurricanes on the radio.

What else do you have planned for 2013?

Marrying my beautiful lady, Kristen Soller.

Congratulations!

Words: Heike Dempster

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Why are you so drawn to council estates?

It’s not necessarily because they’re council estates. I like showing people’s existence without having to shoe people – their laundry lines and lights. I think early council estates are really beautiful buildings, because of the care and attention put into them at the time. I try to represent that by incorporating as much detail into them.

You’ve painted recognizable east London sights like the infamous Pembury estate, where the riots kicked off. Why?

I’m an observer and I live round here. I just see buildings I like and I try to read up as much as possible on them. The amount of work that went into the Pembury Estate is crazy when you think about it. It’ll never happen again.

What’s the creation process like?

The main image for this show took me about a month. I start on watercolour paper, stretched out onto board. Then I work in lots and lots of layers of Indian ink. I’m using tiny little pots so I get through quite a lot of those! Then I build in the detail on top.

When did you start painting buildings?

About two or three years ago, during my MA. I lived in Norwich before, but I grew up in a little village. When I moved to London, I moved to the big city for the first time and I was very intrigued by it.

When did you start painting?

My mum and dad are both from art backgrounds. I used to paint with my mum in her little studio.

And we hear that you used to be a bricklayer…?

I wouldn’t say I was a bricklayer, I worked for a year as a labourer! A lot of that influenced my work though. I start at nine and try to do a full day’s work, that sort of work ethic comes from being a labourer. I was really bored when I was doing that, because there wasn’t any creativity, but it makes you work as hard as possible at doing what you want to do. You forget how lucky you are if you get to do art and go to art school.

Do you think that in the digital age, people are losing traditional art skills like painting?

I don’t think people’s skills have gone, I think they don’t have time to do it. People want things really quickly now.

So what do you say to all the people who think that council estates are grim?

I wouldn’t want to paint something I actually thought was ugly! I think my paintings look moody, but there’s a beauty about them as well.

Do you have a favourite building in London?

Arnold Circus in Shoreditch is beautiful, but it’s almost too nice to suit my work!

What are your influences?

I don’t really look at a lot of illustrators. A few of my tutors were influential. And Hopper, obviously. Plus George Shaw, which is quite weird because I didn’t know his work before, but it’s quite similar to mine. It’s just one of those things that sort of happens!

Frank Laws’ London Bits exhibition will run from 25 July till 24 August at the Orange Dot Gallery, 11am-5pm, 54 Tavistock Place, London WC1H 9RG.

Words: Zing Tsjeng

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