In Meagher’s paintings, the body shifts from being the host of art; to the actual art itself, as the imprint of a tattoo ornaments the body and what is being displayed. Through Meagher’s clean and meticulous technique, he complements the intricate detail of both the human form and his subjects’ tattoos as they are documented through a somewhat detached clinical observation. I had the opportunity to talk with Julian about his practice and in particular, his most recent series titled ‘Small Heroes’ that was exhibited at Chalk Horse Gallery in Sydney, from the 2nd-18th of September 2010.
The Offering, 2010
AS: In the recent series ‘Small Heroes’ your work has moved away from more abstract and clinical representations presented within your earlier career, to themes that draw upon Japanese and Oriental culture. What is it about the cultures that appeal to you and your art practice?
JM: The main reason why I draw a lot on Japanese influences are the quality and type of designs present there. A lot of my work involves paintings of paintings so to speak, especially tattoos, and it is the original design that makes me want to make a work of art about it. Some of the tattoos I use to make works from are from mates who have got them over in Japan. My girlfriend is also Chinese, and I guess the last few visits to Shanghai have also exposed me to new imagery to draw upon.
AS: Works such as ‘You Can Get It Any Old How II’ and ‘Teik as Ming Vase I’ show an interesting comparison between oriental craft and tattooing within contemporary culture. The tattoos appear painted and glazed onto the body, giving it a unique and decorative quality that similarly resembles the porcelain body of a Chinese Ming Vase. Do you think that the imprinting nature of tattoos is a similar form of aesthetics to Oriental ornamentation?
JM: I paint both essentially, because I am interested in building surfaces with oil paint. I like the narrative held within these surfaces, both in the history of the object’s surface and also by extending the life of the original image.
AS: The process of tattooing usually signifies a complex expression that deals with meaning, intent and aesthetic value. Is your work concerned with more of an aesthetic appreciation, or are you interested in the individual history behind the tattoo and its bearer?
JM: I do like all these things that tattoos represent, and my work does play around with meaning, time and symbols held within a tattoo. I like the fact that that a tattoo uses the skin as a canvas, and then I can give it a second life by transposing it back onto canvas using traditional materials. I am more interested in the aesthetics of the ink in skin rather than the bearer’s history; I want the tattoo to speak for itself and tell it’s own story.
AS: In works such as ‘The Offering’ we see a somewhat humorous contrast of Australian culture to that of the traditional Japanese Mikoka ritual. What inspired you to create this ceremonial image?
JM: ‘The Offering’ actually came about because I wanted to re-create the image of a group of men carrying a shrine into the ocean. I made the shrine myself from things lying around the studio, as kind of a piss-take on how male Australian identity lacks a lot of religious influences. I got a bunch of friends and family down early one morning to the beach for the event.
AS: Why did you choose to portray a heralding of the slab scenario as a representation of Australian culture? How do you feel that linked in comparison to the Japanese Mikoka ceremony?
JM: I’m not really trying to overtly comment too much on Australian culture in these works, I actually think a lot more about the image itself in terms of a painting rather than it’s meaning. The meaning comes more as a result of the process of making the work, rather than the other way round. Obviously I do draw on the symbolism of beer and other rituals, but in terms of actual meaning I am happy for the narrative of the work to remain open to different interpretations other than my own.
AS: Unlike works such as ‘The Offering’ where the distinction between Japanese and Australian culture is obvious, much of your paintings within the series depict various dismembered bodies that are adorned with oriental inspired tattoos. Do you think that the tattoo can signify a cross-cultural ritual between the two isolated cultures?
JM: I like how every culture has a long tradition of tattooing and making marks on skin either as story telling or symbiology. I also like how the culture itself influences these markings, so the same process is undertaken with different methods and meaning depending on where and when it was done. I dismember the tattoo from its host to allow it to tell its own narrative in my work, where the focus is on the marking in the skin rather than its owner.
From top: Teik as Ming Vase I, 2010 and You Can Get It Any Old How II, 2010
AS: One of the main things that distinguishes your work from other artists is that the viewer doesn’t necessarily need to have background knowledge on art in order to be able to appreciate your work. The combination of subject matter, style and technique allows for such a wider range of audiences that are not just limited to that within the artworld. Would you agree?
JM: I’ve never really thought about that, I suppose it is accessible on different levels. Though most representational art is I think to some level. I’m not too fussed with directing my work to a specific audience, it is more something I do for myself in some respect, I just need to make work that keeps me getting out of bed each day and that inspires me to keep painting.
AS: Coming from a clinical background, do you think that the precision required within medicine has influenced your technique within painting and also how you observe your subjects?
JM: Yeah. Definitely when it comes to patience, and the discipline needed to finish something. Having done other jobs always give someone better perspective on the next one. I feel so lucky now to be able to come to the studio each day, no matter how long I spend there it never quite feels like work.
AS: What made you choose art as a career over that of medicine? Was there a defining moment for you, or was it more of a progressive shift?
JM: No defining moment I’m afraid. I’ve always wanted to make art, it just took me a long time to make that leap and back myself that I could actually do it. I stopped medicine half way through to go to art school in Italy, but ended up going back to finish uni. Getting a bit older, and looking after people who were sick, also made me realise that I would have massive regrets not being a painter. Not to be to philosophical, but I think everyone wants to leave their mark somehow on the world in which ever way they think they could do best.
AS: Do you believe the binary between Artist and Doctor created an ultimatum for you in career choice? Or have you ever considered them to not be mutually exclusive, and to pursue art whilst also being a Medical practitioner?
JM: Definitely an ultimatum. I don’t think you can do either properly part time. It is too hard to jump between the different headspace required for each one. I think being a doctor has influenced my work in a good and probably unique way, but after 5 years of being lucky enough to go to the studio each day, not much is going to change that now.
www.julianmeagher.com.au
