Auto news on Youtube Apr 8 2018

Q. Welcome back to the Fashion View Interviews! Today I'm with Peter Bezuijen

who is an artist and he comes from? A. From Holland, from

Amsterdam. Q.Right and you born in which year? A. I'm born in 1958. Q.1958 right... this is

a question that I normally do because I'm not really interested in the age you

have but in in how repetitive circles of different age are behaving are liking

the same kind of things... all right yeah so and when did you arrive in London?

A. I arrived in London seven years ago. I moved to London and it is a home now.

Q. We met because throughout the Instagram I stumped into your patterns... A. I had a

spontaneous hematoma so I had a brain damage accident in Greece and when I came

back and I was fully rehabilitated after a year I started painting again and I

think it's really not coincidental that it's repetition. Repetition is known to

be really calming for the brain. It's really... the brain loves repetitive habits

and patterns so that's really a part of the history and also the story of the

weave of Turkish Kalim weavers who deliberately make a mistake in their

weave mmm that basically means that only God is perfect and we humans we can't be

perfect and I'm really interested in this imperfection especially related to

my accident and my illness and I thought yeah imperfection is worth celebrating.

Q. We love patterns as you said yeah I'm very much on the page I mean I feel very

comfortable in it, I wear stripes today but you know every now and then we love

to see things we recognize us into patterns and patterns are made out of

repetition but funny when you deliver a repetition you

"by definition" you don't go anywhere... A. It is almost a circle.

Q. It is almost a circle, yeah! But as an artist my question is: do you kind of wander

into your repetition so you go and you float around and the repetition becomes

itself or you actually are interested in blending you, know, "today I'm a bit more

blue... tomorrow I will want to be a bit red..." A. yeah I

definitely control it but as less as possible. There's always a way of

controlling it, but I really am in a zone when I do it

so that's really where I want to be so it comes all very intuitive. I know, like

you said, I know I want to make a piece in blues or and I want to make a

very colourful piece. Q. And do you have a favorite color? A. Blue and blue

greens that's definitely my favorite color and but normally when I work I

choose the colour completely randomly and completely intuitive... so it's a flow

and the fact that people find it really calming to watch says a lot about the

way I make it, I produce it: when I paint I mean I am in a total calm state.... I incidentally

do a collage with Ball color and Cut Farrow, but mainly 90% of the

work is gouache on different kinds of paper.

Q. When I read your introduction to the art of repetition and the story of how

repetition started, you mentioned 2/3 times the word "textile"... and I

find it quite curious because the idea of the Fashion View Interviews is how

art, in the different aspects of art is delivered, has to do actually with fashion

or what is fashionable. A. Long long long ago I

painted on linen, I remember. That's probably 30 years ago even more I think,

but I I always considered the repetition work that I'm doing since 2015

I always thought of it it could be really interesting to translate this to

fabric. So what we did we had a limited edition of silk scarfs on

a captive sheen which is a very light silk. Q. Patterns became famous sometime

when Missoni made the "stripes" A. Yeah, it's interesting you mention it because

there was somebody who saw the work and he immediately said oh that really

reminds me of Missoni! There is yeah there is a

similarity. Q. How it could be interesting to translate a painting... I mean,

the size of your painting can be very large there is one which is 3 meter long

and the other one are fairly 20*20... that's a very various, but

in textile it changes and transforms completely! Actually, how do you

feel about the idea that your patterns are... moving? A. yeah I think that the

movement of the patterns would be really an extra dimension to it and I really

believe that the work is really strong in a 3d version of fabric and fabric

translated into fashion and being worn by people! I think that would be

really great. I think it's a great dimension to the work. Q. Would

you create the patterns differently? A. Not per shape, but maybe when it

turns out that it should have some adaptation because of the translation to

fabric. At the moment there is a British fashion brand who has translated a piece

of mine into shirts and a dress and they were really beautiful

that look really well on them on the model... Q. And

when did this happen? A. That was for this summer collection 2018, so it's

launched four weeks ago, I think. Q. Oh yeah so super! so we can write recent link?

A. Yes, if you go to Fat Face, that's the brand. CEO of Fat Face shows my work and he

wanted to use one of my works for his summer collection this year.

yeah yeah and that's really beautiful! I have mostly work in the

living room. Q. I saw you make yourself videos about you painting. A. Yeah I make little

videos of me. It's very nice yeah. Q. How did he come the idea to

make this? A. Because I try to post every day on Instagram, to keep the

work out there and tell people, the followers what I'm doing and and I

suddenly thought it would be nice to have a small little footage of me

actually doing it. And I had a pop-up gallery in New Cavendish street

and I had a table in front of the window where I was painting and people love that.

People love to see you working: so they passed by, they stop, they came in, we

had a chat. Sometimes they bought a work. That

worked really well! Q. The engaging with their art making

itself, kind of. A. You know, artists are always sort of hidden behind galleries

and in studios and and it's great for people to see an artist actually

creating his work it's especially if you're not an artist yourself. It's

beautiful to watch an artist making his work.Q. Is it is curiosity or..? A. Yeah,

I think it's curiosity, but it's also sort of mesmerizing feeling of "oh,

but that's the way how you do it!" because there's this sort of myth how artists

make oh and you possibly yeah and it's not difficult at all it's very

straightforward: you have an empty page or an paper canvas and you start

painting. That it's very simple! Q. I have remarked

watching a few of your pieces that in the repetitions somehow somewhere there

is let's say a "bigger" imperfection. So, let's say that (of course we can go

hyper-realistic, which is not the case) but, you know, if if you fairly really

want to do that stroke on and on again you perhaps you actually could, but you

don't. So at some point of the line goes... A. I allow myself and I I don't

deliberately do it, but I'm looking for the

perfect imperfection which is this subtitle of my work. And the

imperfection is actually everything that is done by human hand will be somewhere

imperfect because we're human. And I try to achieve that sort of "perfect moment"

where you can see "oh but this is where it goes wrong slightly or the slightly

movement is going down or this stroke is slightly bigger than the other one". And

if you do it in a very subtle way, you feel the human touch but you're not

looking at it like "oh! that's imperfect". It basically looks perfect and

that's the balance with which i think is really interesting in the work i do: that

what looks in the first glimpse perfect, after a closer look

it's basically imperfect and then in a perfect way. Q. Right! Now, the

repetitions is a calming soothing movement of your mind and then

translates into the paperwork and then the fashion, if applies, the drawings on

textile. But the repetitions will ever end? Do you think you will end to do repetitions,

somehow? A. What I really tend to do, what I'm looking for in the future is

monumental work, so like on buildings, big buildings, big floors of

central halls (for instance hospitals or communal buildings). And so

that will be my next step. Q. And have you move forward already? A. Yeah, there are

some ideas to research for the future. I would love to do, for instance,

tiles. That will be great to have a tiled wall in a repetition

pattern. Q. Have you ever been to Portugal to see the manufacturing? A. Yeah I have been, they're really cool in it.

So that would be the next step I think in the future. To translate it

from paper to more three-dimensional and probably monumental. yeah I think it will

be great massive building! Q. Massive scale, massive dimensions. A. Yeah, yeah I

think they will be working really well with it. Q. Fantastic!

Well thank you very much for staying with us for this interview. It has been

precious and actually of course follow us, like, share, and check the guy in the

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what you think, comment and we catch you soon. So, watch you soon! Thank you very

much! A. Bye bye!