The Bermuda National Gallery recently featured Bermudian artist Christina Hutchings and asked her questions about the span of her career and her 2020 Bermuda Biennial artwork. The gallery also offers the opportunity to virtually step into Hutchings’s studio. Located at home in Bermuda, “it is a working space split into two rooms: the first centred around a large drawing table where she conceptualises the work and develops it through detailed drawings; the second for painting, where she completes the artwork, led by colour and material.” Click here to tour the studio. Here are excerpts from the interview:
An instinctive eye for colour and composition combine with a meticulous attention to detail in the work of Bermudian artist Christina Hutchings. [. . .] We spoke to Christina about her 2020 Bermuda Biennial artwork, the intersection of fine art and architecture and how, for her, one has always informed the other. [. . .]
BNG: You returned to Bermuda in 2008 to concentrate on your fine art practice. Does your background in architecture continue to be a big influence for you?
CH: My decision to commit fully to my fine arts practice took a long time to arrive at. The decision evolved and ultimately won out over the practicalities of making a living as an architectural designer. My decision to return to Bermuda to live coincided, happily, with that decision. My background in architecture has been, and will always be, a major influence in my work.
I have come to believe that one of the most significant influences of my architectural background is the realization that the concept and its development through drawing are the two most important commonalities between art and architecture. The concept determines the form, and drawings are the visual diagrams of the concept. For my art practice, the concept could be something like the title of the work, and drawing is how I develop the concept.
Another important way that my background in architecture has influenced my artwork is that I have recently started making large installations and collages. These installations require plans, elevations, detail and sectional drawings in order to figure out how they will be assembled. The starting point always begins with drawing grid lines, thinking about centre lines and systems of proportion. In all of my art projects, considerations of space, colour, materials, composition, and references to art and architectural history are part of my process.
Collages, and sometimes paintings, feature details made with hardware materials which are considered for their aesthetic value as much as their functional value. [. . .]
Click HERE to read the full interview on Stories, the BNG blog.
For more information, see https://www.bermudanationalgallery.com/christina-hutchings/
[Shown above: 2010 Bermuda Biennial artwork Bermuda Map by Christina Hutchings, 2008.]