A HAEMORRHAGE OF THE MIND. CHARLES MADD
Acrylic on paper. Photo by Willy Vanderperre. 2016. Private collection.
The word haemorrhage comes from the greek term haimorrhagia, which roughly translates as "blood burst". While usually this would be a term that stirs up negative feelings, here the artist Charles Madd twists its definition; using it instead as a tool for expression.
His series of blood splattered paintings, depicting malformed masks and distorted limbs, show that while art can initially be shocking and at times even repulsive; a subtle form of beauty can lie within.
GATA magazine recently had the chance to talk to Charles Madd about his art, the influence of Japanese culture on his life and why he paints things that "people want to hide in their minds."
GATA: Could you give us a little background about yourself? When did you first start making art and why did you settle upon painting as your medium of choice?
MADD: CREATIVITY COMES FROM NEVER ACCEPTING THE RULES NOR FOLLOWING THEM. AS A CHILD, I WAS OFTEN IN TROUBLE, CHALLENGING THE LIMITS. HOWEVER, BEFORE PAINTING I TRIED OTHER DISCIPLINES. THE THING WITH PAINTING IS THAT I NEVER
IMAGINED BEING A PAINTER, PAINTING WAS AN ACCIDENT, IT WAS NEVER PLANNED. PROFESSIONALLY SPEAKING, I JUST LET THINGS HAPPEN AND NOW I ONLY FOLLOW ONE RULE, I JUST PAINT WHAT I WANT.
Untitled. Acrylic and bleach on canvas. 2019.
GATA: How do you normally start a piece of work? Does it start with a spontaneous idea that you develop over time? Or do you usually stick to your initial concept quite closely?
MADD: LIKE A HAEMORRHAGE, IT FLOWS IMPULSIVELY AND INSTINCTIVELY. THEN I TRY TO FOCUS ON WORKING THE IDEA. SOMETIMES, I GET VERY VIOLENT PHYSICALLY WITH MY ART DURING THE PROCESS.
Sketch for a "bleeding composition" on canvas. 2019.
GATA: I noticed that you draw inspiration from the painter Francis Bacon, a lot of elements that he used, appear in your own work. They seem to take on a new life, existing in different contexts like fashion photography for example. What is the legacy that Bacon leaves for you and how important is it in general to draw influence from cultures outside of your own?
MADD: FRANCIS BACON IS ALL ABOUT SEX, DRAMA, DEATH AND BLOOD. HE IS ONE OF THE GREAT MASTERS OF THE 20TH CENTURY AND ONE OF MY FAVOURITE PAINTERS. I HAVE INVESTED A LOT OF TIME STUDYING HIS ART AND READING ABOUT HIS PERSONAL LIFE.
IT IS ESSENTIAL TO LEARN FROM THE PEOPLE YOU LOOK UP TO AND TRY TO DO SIMILAR EXERCISES TO UNDERSTAND THEIR WORK, IN THE CASE OF MR BACON THE LEGACY IS HUGE. BUT I AM ALSO INFLUENCED BY OTHER ARTISTS TOO. THEN, YOU HAVE TO TRY TO CREATE YOUR OWN LANGUAGE, USING AND MIXING DIFFERENT ELEMENTS YOU LIKE IN ORDER TO DEVELOP YOUR OWN PERSONAL STYLE.
Untitled. Acrylic on canvas. 2019.
Untitled. Acrylic on cardboard. 2017.
““FRANCIS BACON IS ALL ABOUT SEX, DRAMA, DEATH AND BLOOD.””
Untitled. Acrylic on canvas. 2019. Private collection.
GATA: Has Japanese art or culture ever informed the work that you do?
MADD: I AM SERIOUSLY TOUCHED BY JAPANESE ART AND CULTURE. I FIND REALLY INSPIRING THE GUTAI MOVEMENT, BUTOH DANCERS, ESPECIALLY THE PERFORMANCE DONE BY IMRE THORMANN. I LOVE THE HARAKIRI AS RITUAL, RITE OF LOVE AND DEATH BY YUKIO MISHIMA. ADDITIONALLY, I LOVE HOW JAPANESE MIX TRADITION AND NEW. THE STONE GARDENS AND ARCHITECTURE, THE CERAMICS, NOGUCHI MARBLE SCULPTURES, THE LIST COULD BE ENDLESS. HOWEVER, I FIND MURAKAMI'S WORK EXCESSIVELY COLLECTABLE AND COMMERCIAL. IN FASHION, TO ME, JAPANESE ARE THE BEST IN TERMS OF CRAFTMANSHIP. VERY DETAIL ORIENTATED. I WOULD LOVE TO MEET NORITAKA TATEHANA OR REI KAWAKUBO.
GATA: Some of your pieces are titled after various conditions like Haemorrhage, Disorders/Mental illness and most recently reference the COVID-19 pandemic. What is your fascination with bodily ailments and is there some kind of message you want to express in relation to this?
MADD: THE WORLD IS UNDER THE EFFECT OF ANESTHESIA. I LIKE WHAT IS NOT OBVIOUS, WHAT IS NOT EXCESSIVELY POPULAR, WHAT IS NOT EASY TO FIND OR UNDERSTAND. WHAT IS DIFFICULT TO LOOK AT FIRST GLANCE BECAUSE IT NEEDS TIME TO BE CONSIDERED. THEREFORE, I AM NOT A MASS ARTIST. I ALSO AM A HEDONIST AND WHAT I APPRECIATE THE MOST IS BEAUTY. TO ME THE AESTHETIC IS KEY. HOWEVER, I DO NOT UNDERSTAND BEAUTY THE SAME WAY AS OTHERS. I ONCE SAID: "I PAINT THINGS THAT PEOPLE WANT TO HIDE IN THEIR MINDS, I PAINT BLOOD TO FORCE THEM TO WATCH IT."
"Covid-19”. Acrylic on paper. Dior AD from a magazine. 2020.
"Haemorrhage". Acrylic on paper. Fanzine Jonas/12 by Willy Vanderperre. 2017.
““I PAINT THINGS THAT PEOPLE WANT TO HIDE IN THEIR MINDS, I PAINT BLOOD TO FORCE THEM TO WATCH IT.””
"Crying blood”. Acrylic on paper. Fanzine Jonas/12 by Willy Vanderperre. 2017.
GATA: What do you think makes a good artist? Anyone can make things, but what do you think it is that elevates someone to produce something of true artistic value? I know this is a completely subjective question that has no real answer, but it would be interesting to hear your thoughts on this.
MADD: I WISH I KNEW THE ANSWER. THERE IS NO RULE TO BECOMING A GREAT ARTIST. TO ME THE MOST FUNDAMENTAL PRINCIPLE IS THE COMMITMENT TO MY WORK AND MYSELF PERSONA. (VINCENT VAN GOGH DIED WITHOUT ANY RECOGNITION.)
GATA: I found a lot of your work on Instagram, I was curious about your feelings towards this platform. How do you think the internet has changed the way we acquire information and also how has it affected the way people present their work?
MADD: IG SHOULD BE USED AS A TOOL TO EDUCATE THE EYE. I USE IT AS A PORTFOLIO. I ALSO USE IT TO DISCOVER NEW THINGS, NEW ARTISTS, TO LOOK FOR INSPIRATION OR COLLABORATE WITH PEOPLE I LIKE. THE BAD THING IS THE EXCESS OF LOW-QUALITY CONTENT. TOO MUCH MEDIOCRITY AND CENSORSHIP. IT ALL DEPENDS ON THE WAY YOU USE IT.
Untitled. Acrylic on paper. Photo by Willy Vanderperre. 2020.
Studio of Francis Bacon background over photo by Willy Vanderperre. 2017.
Untitled. Acrylic on paper. Photo by Willy Vanderperre. 2020.
GATA: Do you have any advice or words that you would like to give to people who are at the beginning of their creative journey, maybe people who have yet to find their own voice or purpose?
MADD: I'M NOT GOOD AT GIVING ADVICE. TRY EVERYTHING.
GATA: At GATA, we always ask people about cinema, could you please tell us what a couple of your favourite moments in film are?
MADD: SOME PEOPLE MIGHT EXPECT I SHOULD SAY TARANTINO OR HANEKE'S FUNNY GAMES ACCORDING TO THE LEVEL OF BLOOD IN MY WORK AND THE BRUTALITY OF SOME SCENES, BUT IT'S NOT JUST ABOUT BLOOD. I LIKE UN PERRO ANDALUZ BY LUIS BUÑUEL AND PSICOSIS, THE BIRDS OR MARNIE BY HITCHCOCK.
Untitled. Acrylic and oil on canvas. 2018.
Untitled. Acrylic and charcoal on cardboard. 2020.
““LIKE A HAEMORRHAGE, IT FLOWS IMPULSIVELY AND INSTINCTIVELY.””
Untitled. Acrylic on paper. Photo by Juergen Teller. 2020.
GATA: What do you think the future has in store for the way that art is both created and experienced? Do you predict that there will be any technological advancements in particular that will greatly change the way we experience art?
MADD: ART IS BIGGER THAN TECH. ART IS LIVE AND IN CONSTANT EVOLUTION, AND AS LONG AS WE KEEP THE EYES AND MIND OPEN TO APPRECIATE THE WORK OF NEW ARTISTS, WE WILL BE ABLE TO ENJOY WHAT THE FUTURE BRINGS, NO MATTER IN WHAT FORM.
All Artworks by Charles Madd
Words by Samo