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6 Questions with Philip Maltman



Q1: Why art?

Ever since I can remember I have had a pencil or a paintbrush in my hand. I was taught art by a superbly progressive teacher on the West Coast of Scotland in the 60’s who introduced a 12 year old to Kandinsky while his sixth formers listened to Thelonious Monk in the next room. You had to keep up!

No other artists in the family so was a star when I produced drawings for them even though, “You’ll never make a living from that!”, was always ringing in my ears.


Q2: What is your studio space like?

My studio is in one of two buildings in the next property to where I live. It used to be a small printing press. Not large but access to the other building for larger work is always possible. I share it with my “landlady” who is also an artist.



Q3: How much time do you spend in the studio per week?

My studio is very close so I am in and out of it every day.


Q4: What motivates and drives your work?

Painting motivates me to get up in the morning and is the last thing I think of at night. I have said that I paint to extend my experience of the world and, essentially the possibilities of that extension through making new things every day is motivation enough.


Q5: What direction is your work heading now?

I have been working on paintings based on Art Historical themes for the past 3 years. Paintings by Aelbert Cuyp, Claude Monet, and John Constable have provided launch pads for improvisations and variations which are all but destroyed, albeit lovingly, with the resulting movement of paint with hands, brushes, cloths, extending into an adjacent panel or space as scattered abstract shapes and written descriptive titles. I am continuing this pattern with works by Sargent and Stubbs being the most recent subjects.

Q6: What do you hope people see when they look at your paintings?

I hope they will feel that their experience of the world has been extended and that it might continue to be so if they had one one of these paintings nearby.



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