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Robert Fairchild on Being an Artist During a Pandemic

Robert Fairchild

‘Tell all the people you see. Follow me. Follow me down’



Some visual artists might have slowed down and not been productive during the COVID-19 pandemic.

Not Robert Fairchild.

Fairchild, 22, graduated with his second degree from the University of Memphis, found his first art studio, and began focusing on new subject matter in his artwork.

And to make things sweeter, one of his paintings was accepted in the prestigious “62nd Annual Delta Exhibition” art show at Arkansas Arts Center in Little Rock.

“The painting was ‘Tell All the people you see. Follow me. Follow me down,’” Fairchild says. ”It’s a beginning of a Doors songs. I did that painting in undergrad, so, I guess, that was fall of 2019. And I just had it in my house since I finished it.”

The three-by-six-foot oil painting of people on a subway platform was based on a photo he took on a trip to New York in spring of 2018. He found the photo along with some other old pictures and “just made a piece about it.”

It’s not a direct copy of the photo. “This one is fairly altered. I took out a lot of excess information, like some of the patterns in the tiles and the text you would find in the subway. Stuff on the walls usually has a lot of words on it. I took that out. I thought it was kind of distracting.  And I altered the colors to make it more compelling in certain areas.”

What drew him to that scene? “First of all, that was the cleanest subway platform I’d seen in New York when I was there. Also, there was no one there. There were, I mean, three people fairly close to me, and then a few people in the distance. Most of the time it’s completely full of people and over-crowded.”

“What in the world is going on? he thought — and took a picture. “It was a memorable moment because it was kind of eerie. I didn’t even think about painting at that time. I took a picture because I thought it was a good composition.”

Fairchild says he was “focused on social interaction of these figures in a public space and how everybody is on their phones. It’s also really big, so the viewers can place themselves in the painting.”

He submitted it to the show last February. In March, Fairchild found out his painting was accepted. 

Usually, the show is a held at the Arkansas Arts Center. “They changed it, once all the quarantine stuff started happening. And they just decided to have a virtual show.”

It would have been nice to actually get to attend the exhibition if they had had one, he says. “Usually, they have a reception at the Arkansas Arts Center. And it’s fancy with cheese and wine, so I was looking forward to it.”

Also included in the show are works by Memphis artists Greely Myatt and Jed Jackson.

Since finishing school, Fairchild has been working — in a mask — 40 hours a week at Whole Foods Market. But, thanks to his job, he found his studio. “My co-worker has a shed in his backyard. I was talking to him about needing a studio and he was listing off places. And then he just mentioned, ‘I have a shed in the backyard. You can check that out.’ Now I’ve been painting there the last several weeks and it’s perfect. It has AC in it, so that’s all I need.”

Fairchild says he’s moved to a different subject matter in his paintings. “I’ve shifted away from the figure and now I’m focused on painting landscapes, for the first time. A natural landscape. I’m really only focused on the light and the moment.

“I’m working from a photograph with very beautiful light that’s from dusk or right before the sun goes down. I’m really slowing down my process and really focusing on color, the transition of light, then creating something that’s not 100 percent one photograph. I’m using multiple references in this one to create something that is not reality but is based on reality.”

The painting, he says, is “a view from my porch. I want to share something from my experience. Something I encounter very often. I happened to be sitting on my porch. One of the days I’m not working.”

Robert Fairchild

Work io progress

Fairchild, who took the photo about 7:00 p.m. “I took the picture ‘cause I liked the lighting. Now everybody will be able to see the view from my porch.”

He was inspired by Edward Hopper to get into landscapes. “When I was in school I was looking at books on his paintings. I’d seen his work in New York. He’d paint a store front and it would be absolutely gorgeous. Really moving. It was just a painting of nothing. So, I’m thinking I want to focus on how well I can paint a very minimal thing and make it moving to the viewer because of Edward Hopper’s work.”

Thanks to another artist, Neo Rauch, Fairchild isn’t going to abandon figurative work. “He’s a German painter and does these bizarre scenes. They’re beautiful paintings. I honestly want to start copying him next and apply my own style.

“Rauch does really strange work. His compositions have so much depth in them. And they’re all from his head. It’s a unique style. And the pieces are huge. I just got into him. My professor gave me a book on him after I had my thesis show.”

He completed school during the quarantine, which was great, he says. “I honestly hated getting up and going to class. So, I’d just wake up, join the Zoom meeting in my underwear, and get coffee and do homework at my desk at home.”

Fairchild graduated last May with a degree in journalism with a focus in creative mass media. “I got my degree in studio art with a focus on painting last fall. So, I just finished my second degree and, hopefully, I can get a job. That’s one of the things. The job hunting is not fast right now ‘cause everything is frozen. But Whole Foods treated me well, so, I’m going to take a break and get into it. Then, we’ll see.

“It’s, honestly, been wonderful spending time alone to paint. Finish school and work. That’s really all I’ve been doing.”

And, he says, “Ride my bike. Find something else to do besides be alone.”

To view, “62nd Annual Delta Exhibition,” click here: https://delta.arkansasartscenter.org/gallery-old/?fbclid=IwAR1ee6w5tU-BMdgoLz1Bwmx3FSutZNCfZKLedVJ0fu3C8wWtifMnEh6GNs8



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Categories
Film/TV TV Features

Mad Men, Matthew Weiner, and Edward Hopper

Spoiler alert: If you aren’t current on Mad Men, be aware of thematic and plot revelations in this review. And, if you don’t know what Mad Men is, Google it and get busy catching up. Also: Consider where you may have gone wrong in your life.

“Previously on” the Flyer‘s TV review page: Contemporary scripted TV is our equivalent of masterpieces of fine art. Our museums and galleries are HBO, AMC, Showtime, the basic networks, FX, Netflix, and Hulu. The Sopranos is a Caravaggio; Parks and Recreation is a Keith Haring. Breaking Bad is Pieter Bruegel the Elder’s The Triumph of Death.

Mad Men is an Edward Hopper. It’s Nighthawks and Chop Suey and Office in a Small City and Intermission and a dozen more, all rolled into one: gorgeous, perfectly designed, lonely, contemplative, sexy, and gender-inclusive. Creator Matthew Weiner paints Mad Men with pure confident brilliance. Mad Men is social commentary with the benefit of decades of perspective.

The big knock commonly advanced about Mad Men is that nothing much ever happens in the show. The times that the show has truly shocked viewers can probably be counted on one hand: A lawnmower comes to mind, as does a man’s severed nipple. But, taking place during the tumultuous history of the 1960s, Mad Men usually prefers to let the big moments happen in the public consciousness and take the personal histories at a more glacial pace. Pacing is actually Mad Men at its most honest: The world may change overnight, but people don’t.

Weiner ramped up for Mad Men as a writer on The Sopranos. His episodes, including “Chasing It,” “Soprano Home Movies,” and “Luxury Lounge,” are more sociological, observational, and digressive than most other Sopranos episodes. Weiner never seemed as interested in the big plot points of the New Jersey crime family as he was with what effect this was having on individuals. In Mad Men, he doesn’t recreate the scenes of those seismic national events but instead focuses on what they mean for the characters — similar to how author James Ellroy explores “the private nightmare of public policy” in his Underworld USA trilogy.

Last Sunday, Mad Men‘s Season 7 signed off until 2015 with “Waterloo,” a half-season finale in the middle of a bifurcated final round of episodes. (Don’t get me started about how annoying a network ploy this is.) But, at this point, I’m ready to stop debating if Mad Men is the best show of all time: It almost doesn’t matter what happens in the show’s final seven episodes, Mad Men has surpassed other great hour-long shows like The Sopranos, The Wire, M*A*S*H, Breaking Bad, and whatever else is presumptively the title-holder. (And comparing the relative value of dramas versus comedies is too difficult and too dependent on preferences. Apples to apples, I’ll take Parks and Recreation over any other comedy and Mad Men over any other drama.)

Until late in Season 7, Mad Men hadn’t yet tipped its hand about ultimate intentions: Is it a show about things falling apart or coming together? As “Waterloo” ends, things are hopeful. Don finally has the inclination and means to simply do and enjoy his work. Sally picked the earnest nerd over the cynical football player. Peggy found her voice. Things may change again in the second half of the season. Mad Men might do its thematic version of the Altamont Free Concert. Either way, it’s a cultural alchemy that is a joy to behold.

Watching Mad Men isn’t like watching paint dry, it’s like watching a great painting dry: Hopper’s Morning Sun oxidizing into immortality.