"tHE COWS HAVE BECOmE A BIt
LIKE FAmILY tO mE – It’S HARD tO
LEt tHEm GO But LOVELY tO
SEE PEOPLE EnJOY tHEm”
For You’ she has torn up a mass of tabloid
headlines and incorporated them into the
main body of the picture. “I’ve always loved
this tV programme and found the title
perfect for a piece depicting tabloid gossip
– only everything here has a positive spin.”
the words of one Guardian art critic who
attacked her work as simplistic and typical
of the kind of work that is ‘designed to
Dairy Milk
Boxed canvas edition of 195
annoy art critics’ is now torn up and forms Image 28" x 28"
part of the background of the picture. “I can
£475
take criticism on the chin,” says Shotton, but
The Good, The Bad
& The Ugly
she gets a wry sense of satisfaction from Boxed canvas edition of 195
knowing his harsh words contributed to a
Image 44" x 28"
£625
piece of her highly successful collection.
“It’s my way of putting two fi ngers up to the
art establishment,” she laughs.
Shotton takes a long leisurely stare at the cow next to the devilish one was an easy backdrop of a milky white harvest moon,
lighter and romantic moments in life with contrast but I didn’t have the heart to paint while ‘I Give my Heart to moo’ is a simple
an amusing spoof of ‘the Good, the Bad an ugly one. By putting the bag over her affi rmation of devotion and affection as the
And the ugly’ featuring a devil cow, an head you can imagine she’s actually quite soulful looking cow stares out of the picture.
angelic cow, and a cow with a paper bag beautiful underneath.” For critics who say Shotton is a one cow
over her head. “I really enjoyed painting the power and simplicity of love is also wonder this collection gives much food for
this piece and even though at fi rst glance explored in ‘mooon River’ (page 21) in thought.
it looks like a triptych, the clouds merge which a portrait of a pair of doe eyed cows Shotton loves the reaction she gets from
together to give it continuity. the angelic epitomises the power of true love with the her buying public and fi nds it immensely
rewarding. One fan that came to a gallery
had a Shotton cow tattooed on her arm
which she admits she found “a bit extreme
- but rather fl attering too.” Like many
artists she fi nds the process of creating a
collection a solitary and intense one and the
experience of going to galleries and talking
to collectors is the fi nal part in the artistic
experience. “these pictures are designed
to catch the eye and collectors say when
they have them on their wall at home they
build up a relationship with them and they
become conversation pieces. the cows
become like family to me – it’s hard to let
them go but lovely to see people enjoy
them.”
on toUr
Caroline Shotton is visiting galleries
nationwide with her new exhibition 'Moovin'
this Winter. To see the collection in full, visit
www.washingtongreen.co.uk
Autumn 2009 Fine Art ColleCtor 23
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