ArtFile Magazine recently interviewed Elly Smallwood.  Thanks to AM DeBrincat for the interesting and engaging piece!  

  Elly Smallwood in her studio with Notations, oil, 70" x 50", 2015.

Elly Smallwood in her studio with Notations, oil, 70" x 50", 2015.

Elly Smallwood's paintings are lushly-painted testaments to a uniquely personal vision. Originally from Ottawa and currently based in Toronto, her work is exhibited internationally, including an upcoming show at Massey Lyuben Gallery in New York City.  

by AM DeBrincat

Tell us about your work. What themes and/or aesthetic concerns are important to your work? How role does scale play?

There are a number of themes that recur throughout my work, such as sexuality, intense emotion, alienation, but overall I try not to overthink it. I paint whatever it is that excites and fascinates me. My art is never a visual depiction of some carefully composed concept, it’s something more visceral and intuitive than that. I’m never able to explain the concept behind a piece because it isn’t something that I can comprehend through words, it’s an exploration of something through paint, which is a language in and of itself. I want my work to reach people on a gut level.

Personally I love working as large as possible, I think large pieces have an aggressive and dominant power; they command your attention. I occasionally work small as well though, and those pieces always have a very intimate and personal feel to them. 

  Eye Study, Charcoal, 9" x 11", 2016.

Eye Study, Charcoal, 9" x 11", 2016.

Let’s talk about your process. How do you build a painting? How has your process changed and evolved over time?

Originally it was all much more thought out, starting with photographs usually, then a sketch or two, then I would translate that sketch onto a larger canvas. Now, I simply start right on the canvas with whatever idea is in my mind. I have a pretty short attention span, so I found that spending so long on the planning out of a piece didn’t work well for me, I would end up bored by the time I had started actually painting it. I’m also constantly trying to loosen up, make my work more spontaneous, rough and experimental, so I needed to cut out the planning out stage for that to happen. There’s a lot of failure now, but when pieces do work I like them a lot more. 

  Leda and the Swan (Study of Michelangelo), Oil, 60" x 70", 2016.

Leda and the Swan (Study of Michelangelo), Oil, 60" x 70", 2016.

Do aspects of media, pop culture, and current events influence your work or your thought-process in the studio? If so, how? What’s on your mind right now and how does this find its way into your work?

Not particularly. I mean, it’s impossible to not be influenced by the world you live in and the culture you’re a part of, but those aren’t things I’m directly trying to talk about. My work does often deal with subjects like female sexuality, LGBTQ sex, fetishes etc. and I think those are very relevant right now, but I deal with those subjects because they are a part of my life, not because they are currently issues people are talking about. I also think that when you have a platform you have an obligation to speak about the issues that matter most to you, so I do often do that, but it’s generally very separate from my art. 

  In the Forest, Oil, 20" x 24", 2016.

In the Forest, Oil, 20" x 24", 2016.

How do you think social media has changed the artistic landscape and the way that contemporary artists develop their careers?

I think it’s put a lot more power into the hands of artists. You really don’t need the stamp of approval from institutions or galleries now to sell work, you can reach collectors directly. I think that’s great for young artists, particularly those whose work doesn’t get a lot of gallery attention. Social media also allows artists to reach out to each other and connect and build a community, which is an amazing thing. Especially since we’re mostly awkward and introverted. 

  Rush (Study), Acrylic, 9" x 11", 2016.

Rush (Study), Acrylic, 9" x 11", 2016.

If you were hosting a dinner party in which geography, time period, and language weren’t barriers, who would you invite?

Lucian Freud, Leonardo da Vinci, Artemisia Gentileschi, Haruki Murakami, Marlene Dumas and Kara Walker. Be a bit of a weird party. 

What does a typical workday look like for you?

Bike to the studio in the morning, work on sketches or reference photos or emails for a few hours as a way to procrastinate, then paint for the rest of the day. It varies though, right now my schedule is all over the place and I’m painting at night. 

Read the entire interview: here.