Douglas Cantor: Rain Later, Good Occasionally Poor

Douglas Cantor

Artwork’s Title: Rain Later, Good Occasionally Poor

Year: 2019

Materials Used: Oil on canvas

fair good
Douglas Cantor, Rain Later, Good Occasionally Poor, Oil on canvas, 230 x 200 cm, 2019

Art Verge

How would you define your work in a few words (ideally in 3 words)?

An honest search.

Douglas Cantor

Three more words to describe ‘Rain Later, Good Occasionally Poor’:

A motto, a reminder, a note to self.

Is there any story behind this painting? How did you come up with this painting idea?

I’m always writing, sketching and drawing things that I like,  the words  fair/good come from the bbc shipping forecast – they felt very relevant and poignant to my life when I first heard them over a year ago, back then they triggered imagery for the painting, but as with many of my paintings this stayed in my head for quite a while and only recently the image felt right, and relevant to my current life, so it went to the canvas.

What colour is used the most in this painting?

Black, it wasn’t intended that way but what I had in mind for that painting just didn’t feel right. I don’t have a set colour pallet of any sort, I tend to jump into a painting with a clear idea in my head in terms of colour and composition, but more  often than not the painting ends up choosing the colours and elements, and I have learned to listen and just oblige.

What would be the best way to exhibit your painting?

It really depend on the context and space, i don’t feel like my paintings belong to a specific place, hanging in a white cube or propped on breezeblocks, they can be proud and humble at the same time, a bit like me. That said, I enjoy when the experience of a painting is extended beyond the canvas, I would like to have a exhibition where each painting has its own soundtrack.

Do animals like horses or flames of a fire constitute important motifs in your imagery?

They do, horses especially remain very relevant. I’m drawn by the way in which I feel they convey emotion, and the universal nature of their symbolism – but we are constantly changing, and so shall the work.

Can you mention any artists you, lately or generally, take inspiration from?

Sophie Vallance, I have the privilege to be able to see her process unfold, and that has been probably the most influential experience for me.

How do you know when this painting was finished?

I just know, but if I’m going to attempt to explain it, it was finished when it felt the way I felt.

What about the place where you work? What’s your studio space look like?

The studio is the most important space for me. Until recently I always worked where I lived or better, lived where I worked, but recently moved to a separate studio, it was vital for me to feel at home there, so I spent a good amount of time creating a little space in a corner that I could be proud of, I made a chair, found a table, made cushions, brought some personal items and moved things around again and again until I was happy, only then I was able to focus and work.

Is there any particular message that you wish your viewers can take from this painting?

Not really, I’m happy for people to find whatever they are looking for within my work. I do not control them once they are finished.

Which was the best comment that you received regarding this work?

Having made it to the Instagram feed of @yngspc was itself an honour.

What does your mum think about your art?

I called her and she said, very very interesting, I’m very talented, I’m exploring things, she predicts that I might not stick with horses and might move towards new motives that resonate with me.

Which exhibition did you visit last?

Gerda Shepard at Mary Mary, Glasgow.

Which are your plans for the near future?

I’m focused on making work, and waiting for a couple of exciting projects to develop.

Additional Works:

make work
Douglas Cantor, They Say You’ve Got To Break The Horse But They Dont’t Knoe Nothing,
Oil on canvas, 230 x 200 cm, 2019
fera not
Douglas Cantor, Fear Not F.C/Play The Game Son, oil on canvas, 230 x 200 cm, 2018
house on fire
Douglas Cantor, House on fire/good/leave none behind, Oil on canvas, 160 x 150 cm, 2018
Douglas Cantor, studio view, 2019

© All images courtesy of the artist

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