When you first see Theo’s work, you cannot help but be drawn in. Colours are heightened, textures enhanced – it is captivating, and easy to be enchanted into his way of seeing. Theo Crutchley-Mack is a Wales and Cornwall based artist whose work focuses on the often-forgotten landscapes – which makes admiring his work all the more enjoyable.
He graduated from Falmouth University with a sell-out degree show and has continued to successfully exhibit throughout Wales and Cornwall for five years. It was during his time at Falmouth where he discovered a draw towards the derelict and abandoned.
What inspires your work?
“There was very little direction in my work when I started studying Drawing at Falmouth University several years ago. Fortunately, that soon changed when I began exploring the local area and I stumbled upon a short stretch of the river Fal that’s littered with old shipwrecks. The wooden structures of the rotting hulls were captivating, and I found they translated very naturally into my artwork. It seems strange to say my work is all inspired from one specific area however that’s really where it all began. There’s a history of boatbuilding in my family so perhaps there’s some genetic ties to my attraction to the structure and sculptural qualities of old timber boats.”
In 2018, he was invited to the sub-Antarctic Island, South Georgia to be an artist in residence. Here he painted and documented ruined whaling stations to aid in fundraising for the South Georgia Heritage Trust, whose work restores the habitats of native fauna and flora. It was here where he begun to find a footing in terms of his style.
How did your style develop?
“Having found some direction in my work I anchored my style to strong structural and figurative drawing whilst simultaneously experimenting with different applications of textural materials. I applied paint in thickly and started collaging torn paper and found objects into the work. It was a real challenge to maintain a figurative representation whilst building so many thick abstract layers of material on the canvas.
The obsession with texture and patina in my work was only amplified by my unique experience in South Georgia, yet it was the catalyst for the decision to slowly move away from representation in my work. Today I try not to tie myself to representation. Instead, I build carefully composed layers of splintered wood and paint that only suggest the essence of a place. Currently I often find my work sitting on the thin line that separates painting and sculpture.”
Theo’s method of work begins out in the field, where he will spend many hours outside drawing. These sketchbook studies later become references for his larger pieces. His studio pieces begin as wooden panels, which are then layered with multiple pieces of splintered wood. This forms the basis for his sculptural approach to painting; with the textures often being more defined than that of the paint.
This process of creating feels authentic, the use of wood used to depict structures adds a sense of ‘rooted-ness’ to the final pieces. There is a theme of connectivity, flowing between the wooden canvas and the derelict shipwrecks and buildings, which are given new life in Theo’s work.
What was your ‘wow’ moment? The moment you thought ‘this is what I want to do’?
“I don’t think I ever really had one. My first ever sales were in my degree show at Falmouth University and that was a shocking realisation that I can make a living by selling my paintings. The main drive in my work has always been too progress and get better. I’m my own worst critique meaning satisfaction will never come easily. In that sense I really don’t see an end, which is fantastic.”
There is rawness present throughout his work. His series, Night Paintings, being a personal favourite, especially Llandeilo. There is something strange yet at the same time familiar about the setting; almost like a place visited in a dream. There is something nostalgic within his Night Paintings, I’m taken back to a time in my childhood when visiting London with my mum. We were walking back from seeing my late uncle Stuart, a talented trumpet player who was doing the music for a production of Zoro. Night had fallen and fat rain droplets fell from the sky. We had tucked ourselves into a doorway and watched as taxis sped past and people ran for cover, umbrellas and jackets held above their heads. The golden glow of streetlights twinkled in the dark, their light shimmering and dancing in the puddles.
Do you have moments of self-doubt? How do you keep those thoughts away?
“It’s very rare for a painting to go well from start to finish. Every time it feels like I have to fight my way through thick blankets of fog that block my path to completion. Not one painting is ever the same so I can’t even rely on repetition to find my way through. One of the best ways I’ve found to push through the fog is by taking a long break away from the work. In the studio most of my paintings are facing the wrong way with their backs showing. This helps distance myself from the work and return to it with fresh eyes at a later date. I’ve also taken photos of the work on my phone to look at when I’m not in the studio, this often brings new ideas to light. Sadly though, there is never a definitive way out of the fog and I have to make the mistakes and then put in the hours to correct them.”
The nature of paint, and other mediums such as pen and ink, is that they can be unforgiving. Once they are on paper, they are there to stay. This at times can be incredibly frustrating, can cause panic and sometimes you can feel at a loss of what to do. This can make you question yourself. But it can also offer the opportunity to take a new approach, try a new technique or vision, or perhaps guide the piece into something better than previously intended. Perspective on how you view the mistake is crucial when it comes to creating. The mistakes are part of the fun – the act of creating is something many of us find joy in, and what pushes us to continue despite the risks.
Why do you create, what is your drive? What does creating mean to you?
“I’ve been spending long days in the studio working alone for several years now and there’s honestly no turning back. The thought of working for someone else’s dream seems ridiculous and I will always strive to continue creating no matter what. I also find the act of creating deeply meditative and time goes out the window. Hours can pass by in the studio in what seems like seconds – even if I’m making rubbish work, the studio is where I feel truly at home.”
It is beautiful to think that such a masterful body of work was inspired by the wrecks of old boats found alongside a stretch of river known by many; where countless people have no doubt tread. Theo demonstrates that creative inspiration can be found in the most unlikely of places, and this inspiration when nurtured can create pieces that are timeless in their beauty.
As previously stated, his work evokes this feeling of connectivity to the landscape, whether through memories or otherwise. Theo’s work captures the essence of the land through focusing on elements many choose to ignore, or perhaps not quite see.
Theo’s next showcase will be held at Potager Gardens, Falmouth, in early October. The exhibition will feature a collection of new work inspired by his findings along the river Helford and Fal, from bits of old boats to clumps of seaweed. Time and dates to be announced, but all details will be released on his website and Instagram.
