building, and explore. I use photography to document and as a formof recording something, a form of visual collage, a scrapbook.
Do you have buildings you return to, time and again? I’mreally intrigued by lost houses and the sites of lost houses. There are a few favourites of these. I go purely to letmy imagination run wild. There’s one house in Yorkshire, just
outside Richmond, called Gillingwood Hall. There’s a drawing of it in the 18th century as a Tudor house with gable ends, and it’s been suggested it was rebuilt in 1749 to a design by Daniel Garrett in a reduced Palladian style. The house was lived in by the Whartons, whose wealth was built on leadmining. Margaret Wharton, also known as Peg Pennyworth as she was famous for being mean, lived there. The story goes that when she
discovered she was not to inherit the family’s fortune she threw a huge party and torched the house, burning it to the ground. All that’s left is this extraordinary garden landscape frozen in time, and the front door of the house, ruined, with scorch marks over its back. I keep returning there because it intrigues me. So little is written about it. Daniel Garrett is also a very important character in the development of Gothic and Palladian architecture, and this is such an undiscovered jewel.
What mediums do you prefer to work with? After art school I began to experiment with egg tempera, a very traditional medium. I’d always learnt from my tutors that painting in egg tempera was a very slow process, and I wanted to break that apart and work in a more
Ed Kluz was born in Ipswich and graduated from WinchesterArt
College in 2002. He started work as a full-time artist soon after graduation, at first based in the
family home inRichmond, North Yorkshire.His first solo exhibition was in 2004, atRipon.
His commissions include drawings for theV&A, and book work for Random House and Faber and Faber.He is a printmaker,
illustrator, designer and painter. Ed is nowbased in Brighton.
www.edkluz.com
Above, Duff House, Banff, Scotland
Left, Wimpole’s Folly, Cambridgeshire (detail)
Below, creating a new work. ‘I wasn’t so concerned about following ancient traditions’
abstractway. In fact, it has qualities of oil and gouache and acrylic and you can use it expressively. I still use egg tempera now and
again, but I love using gouache and collage. Very immediate. And also pen and ink because of its fine qualities, and again the ability to work quickly.
What are you working on now? I’ve been doing a lot of illustration work recently, which is the other end of the scale tomy abstract way of working, a much tighterway of working. It’s about properly drawing again. It’s for a book being published by John Murray this year by John Julius Norwich, “A History of England in 100 Places: From Stonehenge to the Gherkin”. I’ve also been working with textile designs and am producing fabrics with St Jude’s Gallery in Norfolk. I’ve justmoved to Brighton and it’s
really inspirational. It’s a vibrant city, there’s a sense of accretion there, of evolving over time. I’mplanning a series of works on Brighton looking at the eccentricities of seaside architecture. I really admire artists who embrace
lots of disciplines. That’s why I find an affinity with the post-war artists. They embraced every kind of imagery. I think it’s very limiting if you call yourself one thing. If you’re visual and you can make amark, you can turn your hand and eye to anything.
‘Northern Arcadia’, an exhibition of Ed Kluz’s works looking at the great landscape gardens of Yorkshire, opens at The Hornsey Gallery, Ripon, North Yorkshire, on 17 September.
Cornerstone, Vol 32, No 3 2011 85
JOHN LAWRENCE
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