Viva Lewes Issue #126 March 2017
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THIS MONTH’S COVER ARTIST: RUPERT DENYER<br />
This month’s cover was painted by <strong>Lewes</strong>-based<br />
artist Rupert Denyer. The scene, which might feel<br />
all too familiar around this time of year, is one he<br />
stumbles upon frequently in his own cellar: “I’ll<br />
normally paint a ‘found’ still life,” he says. “It’s<br />
difficult to set something up without it looking a<br />
bit awkward. Usually I’ll see something, and that’ll<br />
be good enough.” The objects featured include a<br />
collection of his grandfather’s antique tools: “he<br />
used to be a carpenter and he was always interested<br />
in antiques, too - towards the end of his life he<br />
had a stand at <strong>Lewes</strong> Antiques Centre. When he<br />
died, he had hundreds of old tools, tenon saws and<br />
screwdrivers and drills, and a lot of those were<br />
passed down to me.” Our theme immediately<br />
conjured up the image of a mess of hand tools,<br />
cables and, of course, a cup of tea (look closely and<br />
you’ll see the mug features one of those iconic<br />
<strong>Lewes</strong> designs from the Tom Paine Printing Press).<br />
“I’m very interested in form,” Rupert says, “I think<br />
that’s why I don’t work from photographs. Going<br />
from one flat surface to another flat surface doesn’t<br />
work for me.”<br />
After studying Graphic Design and Illustration<br />
in London, he went to train at a private atelier<br />
in Florence, where the approach to drawing was<br />
considerably different. “At college I’d had a tutor<br />
who was really good, but brutal. I might spend<br />
six weeks on one drawing and when I showed it<br />
to him he would roll out a sheet of tracing paper<br />
over the top of it and say ‘the perspective isn’t quite<br />
right here’ or ‘this line isn’t right’, and I’d have to<br />
go back and make corrections. So by the time I got<br />
to Italy I was quite tentative. At the atelier there<br />
was no intellectualising of anything, it was a purely<br />
visual process, learning how to create mass, and<br />
that was a really good basis for learning how to<br />
paint in oils.”<br />
His home studio in <strong>Lewes</strong> is filled with paintings,<br />
from his time living in Italy, to the five months he<br />
spent painting the streets of <strong>Lewes</strong>, to portraits<br />
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