Interview with Artist Britt Spencer

Britt Spencer Interview

02/07/13

Hayden John: What is your first memory of realizing when you wanted to become an artist?

Britt Spencer: From the moment I realized you could I suppose. I always liked drawing, but it wasn’t until high school that I was really made aware that you could actually make money doing it--- up until that point I assumed the only people who were “artist” were also starving as the expression goes.

HJ: Did you go to school initially for art or did you start your education in a different area?

BS: I came to SCAD in 2001 for my BFA in illustration. I knew exactly what I wanted to be doing. But when deciding to come back for a MFA I decided painting was the route for me.

HJ: If different, what caused the change?

BS: Illustration is great, in fact it’s how I pay the bills... but my portfolio was beginning to stagnate and I felt like I wanted to create a new body of work that wasn’t dependent on directed projects from a publisher. So painting seemed like a good option.

HJ: How do you decide on your medium? How do you know it should be a painting, sculpture, photo, film etc…?

BS: Familiarity and ease.

HJ: How do you make your decision on the scale of your work?

BS: Sometimes it’s a practical concern, i.e. what will fit in the space well. Other times it’s a slightly less concrete rationalization, i.e. what size will have the appropriate “presence”, etc. I’ve been going pretty big though for other reasons as well. Namely, the small drafting table size works are far too reminiscent of illustration, I wanted to break away from that familiar size and jump right into painting large, where it was essential that I get off of my stool and employ my entire body.

HJ: When do you know your piece is done?

BS: It’s a judgment call made by me as I work... certainly not a formula or anything like that, that would merit a lengthy response here.

HJ: How do you come up with ideas for your art?

BS: Most of my ideas for my paintings I refer to as “counter-illustrations” in that they provide no illumination of anything, very much a study on the structure of narrative and it’s ability to “tell stories” when no story is being told. So, ultimately, I try to cram as much nonsense that will look good into my work- I reckon you can call that “coming up with ideas” but it’s more accurate to say “coming up with imagery”. Saying “ideas” presupposes intent on them.

HJ: If you get stuck for inspiration, what do you do?

BS: Worst think you can do when you have a block is to think about it... just do it, start drawing, thinking wont do a darn thing. Enough sketching will fix any problem.

HJ: Are there any artists that have influenced you? If so, in what way?

BS: I like Neo Rauch for his aesthetic and imagery. Jeff Koons, Andy Warhol for their philosophical approaches to creating art and their interest in commodities. Other influences include fast food, specifically and especially McDonalds. I like capitalism. I’m very much against collectivism. 

HJ: How did you get your art out to the public?

BS: I’m not sure, I haven’t done much, except try to make good work that people like. So, if it’s getting out there it’s because it’s being passed around by others, not me.

HJ: Do you have a gallery? How did you start a relationship with them?

BS: Nope, I have a few collectors, and I have an agent for my illustrations, but nothing for my paintings.

HJ: Is there any advice you would give to a young artist starting out?

BS: Paint what you want but consider the market and your audience when doing so. 

HJ: What do you see as a pitfall that young artists aren’t prepared for?

BS: Thinking too highly of themselves before they should: don’t rest on your laurels. 

HJ: What’s the best thing about what you do?

BS: There is a lot of freedom and the rewards of creating something that you can be proud of is unbeatable.