! !
The research for Chapter 8 was the result of long-term contact with the artist Ray, who has been known to the author as a painting tutor since 1981 in his capacity as the Principle of the St Ives School of Painting. The choice to conduct numerous interviews from 1999 to 2015 , rather than rely on reviews 22 or appraisals of the artists work, was made in order to discover more about the inner realm of the artist, to explore how the artist ´perceived and how they interpreted their perceptions´ . Through regularly interviewing the artist the 23 author was able to open a continuous ´window on the past´ , and understand 24 the artist and the art as one. An awareness of the reflexive interview technique cultivated an awareness of the multiple influences that the interviewers personal experiences and perspectives could have on the research process , 25 developing a sensitive acknowledgement of the perceptive nature of the artist . Preparation for the interviews though reseaching reviews and research into
26
the artist as stored by the St Ives Archive Centre, available online and in advance as provided through emails from the artist himself, fascinated the author to arrive to the interviews mentally prepared, like an actor for a performance on a stage. Overflowing with ideas, questions and directions for the interview to take focus, but an inherent and natural flexibility to respond to the interests and emphasis as directed by the artist.
!
Interview dates: September 1999, September 2000, September 2001, September 2002,
22
September 2003, September 2004, August 2012, September 2015 Weiss, R. S. (1994), e-book Location 123-4 of 4692.
23
Ibid, e-book Location 126 of 4692.
24
Gilgun, J. F. (2010), e-book location 27 of 213.
25
Ibid. e-book location 170 of 213.
26
By utilising a qualitative approach, the interview process could have been perceived as conversational in appearance . However it facilitated an open 27 mind to absorb and remember the thread of the discussions. It enabled the author to be alert, responsive and open to engage with the artist rather than rely on a prepared script. An attempt was made to epitomise the following advise on conducting and interview by Weiss, R. S. (1994): ´The interviewer´s voice was mostly serious, respectful, interested. The respondent´s voice was mostly relaxed, unhurried, reflective, and inward...But mostly the interviewer expressed a desire to understand whatever it was the respondent was saying´. The 28 resultant connection with the artist was genuine and not a pretence, and the author was able to reach a deeper level of interconnections between the themes in his work than if it had been a standard interview. This sense of connection and interconnection has been described as being quite intense, and Weiss (1994) describes how ´occasionally, an interview is engaging enough for me not only to feel in tune with the other person´s rhythm of speaking and thought, but to see the world through the other person´s eyes.´ This level of 29 connection is quite extraordinary, and emotional to experience, and results in a more spiritual connection with the artist and the artwork.
!
By modifying the technique to avoid the ´intruder in the interview´ syndrome, 30 through choosing to not record the interview so as not to make the artist feel copied or intimidated about the strength or subject of discussion, definitely encouraged the artist to feel more natural and open in the interview, and to
Weiss, R. S. (1994), e-book Location 257 of 4692.
27
Ibid, e-book Location 271-273 of 4692.
28
Ibid, e-book Location 2274-5 of 4692.
29
Ibid, e-book Location 1043-1051 of 4692.
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approach it as an interchange of ideas rather than a recorded observation. By not recording the interview, there is a risk of forgetting specific details, but those details could always be requested at a later date. In addition, there was a palpable resistance to take notes, unless specific and relevant reference was made. Essentially, by reducing the risk of self-conciousness emerging in the character of the artist, the research style encouraged a complete and relaxed record of their creative process, facilitating their natural state as an artist to emerge.
!
This research approach is known to be exhausting, and Weiss (1994) describes how ´interviewing is, for me, usually tiring. I find that it takes energy to maintain an unswerving attention. It requires energy to get into sync with the respondent
´s way of thinking while remaining alert to what isn´t being said. It requires energy for me to monitor my own reactions, to judge whether the material is vivid enough, to keep in mind the issues about which I hope to learn.´ 31 Therefore the research approach can be described as energy intensive, but immensely rewarding. The write up of the interviews took place immediately after the interview, directly onto the computer for hours at a time, with all of the memories of the interchange emerging like water from a waterfall, continuously joined with the additional, and ongoing research of second hand sources from reviews and publications. The energy was very positive and far more pleasant working from memory than from a recording.
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Finally, after specific research about the artist and his artworks, unbounded research freely around the subject of 9/11 from the perspective of the disciplines
Weiss, R. S. (1994), e-book Location 2292 of 4692.
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of history, philosophy, psychology, law and geography, enabled an interweaving of an academic and scientific perspective to the structure of the chapter, with the intention to contextualise the work of Ray.