Classically Inclined
Luke Hannam
“In essence drawing is where and how I give life to my ideas, everything starts as a line and has been drawn many many times. When I paint I hold my drawings close, they are my road map and the anchor holding me to account. My studio is full of drawing books that I assemble myself and use like a library of feelings, a private language from which I can pick and choose characters, scenes and subjects.” — Luke Hannam
Luke Hannam (b. 1966) describes his work as “English handwriting with a Mediterranean heart”. Born in Oxfordshire, he spent most of his childhood in Derbyshire on the edge of the peak district. His initial training was at Chesterfield College of Art in the early 1980’s before moving to Canterbury to study Fine Art. There he was taught by renowned colourist and abstract painter Mali Morris RA (b. 1945), and Robert Welch (b. 1956), both of whom had an important influence on his work; it was Mali who sparked Hannam’s interest in colour and the viscerality of paint. Morris introduced Hannam to painters Patrick Heron (1920-1999), Dennis Creffield (1931-2018) and the Scottish impressionist painter Tom Watt (b. 1951). (Hannam later became Watts’ apprentice in North Shields shortly before he died in 1989.) For Hannam these early years ignited his love of still life painting as a means of exploring colour and composition alongside the hugely important issue of touch and mark-making which have remained important elements of his work through to the present day; for Hannam, powerful emotions such as fear, awe and joy are catalysts for the energies that allow a painting to emerge.
In the 1990s high-minded self-seriousness conceptual art practices were prevalent; whilst Hannam, deeply immersed in the British painting school associated with and the Cornish scene as led by Peter Lanyon (1918-1964), perfected his drawing skills and drew inspiration from the early twentieth century painters, such as Picasso (1881-1973) and Matisse (1869-1954). “Matisse was a revolutionary,” says Hannam. “At the time he was considered a radical but by the 1980s he looked like the past. To me his ideas were as fresh and valid as they had ever been.” Matisse’s bold painterly style, characterised by broad brush strokes and a vivacious use of colour — epitomizing the French joie de vivre — set Luke on a similar course. “But this meant I was seriously out of step with my contemporaries and as the years passed I thought I would be left behind.” Hannam has described Picasso as a creative force that “I can’t really go beyond”. This is not only in respect of the Catalan’s monumental influence on the canon of art history, but also in the way he perceived himself as a painter and as a man. Picasso described himself as “an amateur peasant”, something that deeply resonates with Hannam; in this context, the word “amateur” from the French for enthusiast, embraces passion and inclusiveness.
“The Dreamer” (2020) by Luke Hannam
“Anastasia Reclining” (2018) by Luke Hannam
Hannam’s move from South London to a quiet village on the South Coast has afforded him the space and time needed to develop his practice. He seeks “a language outside of art”, a way to encounter raw feelings, especially, “those that feel unusual and unnerving”. Whether on a large or small scale each work has an immediacy and energy that is truly inspiring — with each painting drawn, or rather wrenched, from depths of his psyche. It was Creffield that first spotted Hannam’s facility for drawing and encouraged him to make this a central tenet of his work. Hannam uses drawing as a direct route into painting, describing it as the “engine room” behind the production of his painted works. Often in these drawings Hannam’s “English handwriting” can be seen most clearly, with his beloved Bede Forrest the inspiration for many of his day-to-day sketches; thus extending the tradition of English artists from Ravilious (1903-1942) to Paul Nash (1889-1946) and David Hockey (b. 1937) who have been inspired by similar rural idylls. There is a rare individuality in Hannam’s work; with the direct, forceful style he brings to his canvases, representing a determination to bring painting to life; to resist falling into a trap, whereby a painting as an exercise becomes nothing more than an aesthetic retreat into niceness. Obsessive, dedicated and constantly creative, throughout his career Hannam has been strong enough as a painter to ignore passing trends, describing “working hard” as “the only guard against mediocrity”.
“Off the Leash” (2020) by Luke Hannam
What was it that drew you to a career in art?
The truth, I guess, is through fate rather than design. Going to art school was really my only option and the real decision was made for me. I studied for five years and felt by the end that it was all or nothing. Interestingly after two years of intense struggle living in the north of England — difficulty paying the rent and a freezing studio in North Shields — I gave up painting to become a professional musician. It was some years later I picked my brushes up again to try and give it another go.
How did you develop your current artistic style?
Drawing has always been important to me and it was the first skill I excelled in at art school. I had become obsessed with Matisse and Picasso and wanted to understand everything about how they approached drawing. I was fascinated with Matisse’s lyricism which he balanced perfectly with a concrete understanding of composition and Picasso had a way of inhabiting a subject, forensic intensely observed but always passionate and deeply human. These approaches have slowly melded over the years into a style of my own; my aim is always to be economical whilst retaining an accuracy and truth about whatever I am drawing.
I find some of your work evocative of the early twentieth century masters, like Picasso and Matisse, but there’s also a unique individuality which makes it immediately identifiable. Which artists would you say most inspire you and how?
Well firstly thank you that’s a huge compliment. I am very influenced by both artists you mention but I would add Holbein and Durer to that list and probably. I think probably Picasso is my greatest influence, I kind of wish I could tell you it was somebody else, someone more obscure but this wouldn’t be the truth. Picasso is emotionally committed and was not frightened to show skill, he knew the emotional power of his drawing would always rise above his facility and mastery as a draughtsman.
“Man of the Mountains” (2020) by Luke Hannam
A great deal of your work is figurative; why is that, and what is it about a person’s character that interests you?
Drawing figures or rather drawing people, which is what you are actually doing, is, I believe, the most direct way of dealing with the complexities of being alive. Human beings are never answers they are always questions and it’s this is quality that I like. For me, pictures or paintings are not political things, they are not trying tell us something specific or change our mind but rather to lead us into unknowable places and allow us to feel rather than to find comfort in knowledge. The human element represents this for me. It’s ultimately about vulnerability and the confidence to tell the truth about your desires and pleasures rather than construct personas that pretend to be wise or worse civilized.
Your drawings and charcoal sketches are powerful in their own right, but how do they influence your painted work?
This is complex not all that easy to explain. In essence drawing is where and how I give life to my ideas, everything starts as a line and has been drawn many many times. When I paint I hold my drawings close, they are my road map and the anchor holding me to account. My studio is full of drawing books that I assemble myself and use like a library of feelings, a private language from which I can pick and choose characters, scenes and subjects. I often say that everything is drawing, drawing is drawing but painting is also drawing, everything involves holding a brush or a pencil and making marks. I’ve never been entirely sure what painting is if it isn’t simply drawing with colour.
Which artist would you collect if you could?
I would probably collect Picasso drawings, especially his early drawings. A particular favourite would be his early rose period Mother and Child drawings he made around 1904-05
“Watching the Surfers” (2019) by Luke Hannam
A good many English artists, from Ravilious to Paul Nash and David Hockey have been influenced by rural landscapes. How would you say a move from city to country has impacted your work?
For me the countryside particularly the English countryside is haunted with echoes of Wordsworth and Hughes, it’s a magical timeless place where being human is not measured through technology but through the weather and the seasons. I spend every day walking and daydreaming in the East Sussex countryside, usually less than a mile from my front door. I listen and I draw; many of my images are drawn from sound and the relationship sound has to memory. I have a favourite oak tree and many hours are spend sitting at its roots and doodling and string down everything I can see and hear. These memory notes return to the studio with me and slowly construct themselves into pictures.
Outside the UK, where’s the most unforgettable place you’ve travelled?
New York. This city fascinates me and I can easily be absorbed for hours in the galleries and museums they have there; the Guggenheim, the Met, the Whitney and all the smaller galleries representing emerging talent.
Where would you like to go next?
I would like to go Los Angeles and really get a feel for what’s going on art wise. I don’t think I would probably like a lot of it but I like to be shocked and have my senses over loaded.
What’s the best souvenir you’ve bought home?
I really don’t buy souvenirs; I guess that’s not very useful.
Tell us about a recent “find” ?
I recently discovered Tillingham wines in Tillingham East Sussex (unsurprisingly). A beautiful contemporary space incorporating old refurbished farm buildings nested in the idyllic Tillingham valley selling biodynamic wine from its own vineyard. The interior design is all the handiwork of Marcus Crane from Mccully & Crane in Rye, sourcing beautiful old vintage elements with contemporary art and purpose made pieces. Tillingham Wines, Dew Farm Dew Lane Peasmarsh, Rye (www.tillingham.com)
An object you would never part with?
If a bass guitar is an object, and I guess it is, then I would never choose to be away from my bass guitar for very long. Making music is an important part of who I am and my writing happens sporadically and often with very little warning or preparation.
What’s the best gift you’ve been given?
A painting by Daniel MacCarthy called Ye Olde Wagon Wheel. It’s a great painting and it’s a constant reminder of the important things in painting.
“Nina Babaeva” (2020) by Luke Hannam
What was the last thing you bought and loved?
I don’t buy things very often; I think the last thing I bought was Michael Harding oil paint, expensive colours like cadmium red and cadmium yellow. To me this is like gold and I honestly dream about paint. Apart from that the last big extravagance was my 2012 Land Rover Defender; an inexcusable diesel guzzling monster but I always wanted one and I grew up around Land Rovers so they hold special memories for me.
Something you have your eye on?
A pair of Church’s brogues, a new roof rack for my Defender. I don’t buy things very often and have to be forced to buy things; it’s not that I’m mean, it just I’m motivated by ideas, especially ones that involve drawing or painting more than I am by shops.
The site that most inspires you?
Sitting under an oak tree looking out over the Brede valley; it inspires me because it empties my mind of noise and fills it with sound.
What’s your biggest indulgence?
Deciding to buy a Defender at just the point diesel engines are being scrapped for electric vehicles.
What’s the best book you’ve read in the past year?
I haven’t read a book in the last year but I have listened to many new albums so I would have to say Thundercat It Is What It Is.
What would you do if you weren’t an artist?
I would have been a good therapist I think or life coach.
What’s next?
I’m collaborating with an electronic music maker/filmmaker in Norwich on a project called Manos. This is basically live art making in a nightclub environment. I’m also collaborating with a spoken word poet from Manchester called Luke Unabomber which we’re hoping may turn into something we could release sometime in the future. From a painting perspective I want to finish the collection I’m currently working on and continue to reach out to galleries and collectors in a bid to securing a show.