 it!

EWA: The Turner paintings used for the color experiments are inspired by natural phenomena, a relationship found in your work as well. There seem to be a few layers at work here: Turner translated his experiences of nature, and you, in turn, translate Turner’s vision in your paintings. How is the role of nature different for you in this series as opposed to in past work?

OE: That’s an interesting question, which I think touches on something very important about how we understand nature. I do not believe that you can truly separate nature and culture, because there is in fact no outside. As animals, we humans are always part of nature. The science journalist Lone Frank said in a conversation I had with her recently for my Riverbed catalogue that “culture is something that arises from the human brain’s way of functioning, from our way of being animals.” We think we know what nature is, but it has more to do with what we exclude, what we say is not nature.

I suppose that your point is that my paintings are a kind of mediation on Turner’s mediation on an experience of nature. But perhaps we should look instead at the pigments as part of nature, and think of painting as a material phenomenon that can be perceived the way we sense a rainbow, a river, or a volcano.

EWA: David Hockney once said there is a “relationship between the way we depict space and behave in it.” What do you make of this idea within the context of your work in relation to Turner’s?

OE: It’s a fascinating proposal, but I am generally not as interested in what an artwork depicts as in what it produces, its performative aspect, the way it induces you to act and behave in space.

EWA: You’ve worked in series before, particularly with photographs. How do the paintings relate to one another within the Turner Color Experiments series? Is there any order to how you have presented them?

OE: I began the series by collecting reproductions of just over 30 of Turner’s works, and then I gradually singled out paintings that I felt had the most varied palettes. To decide on their presentation for Tate, I had a maquette of the space created in my studio, and I moved small reproductions of the paintings around and tried out different arrangements until I found the one I liked. It was a very subjective process.

EWA: How do you
it! 

 EWA: The Turner paintings used for the color experiments are prompt by lifelike phenomena, a relationship establish in your study as well. There seem to be a few layer at oeuvre here: Turner translated his experience of nature, and you, in turn, translate Turner ’s imagination in your paintings. How is the role of nature unlike for you in this series as opposed to in past work? 

 OE: That ’s an interesting question, which I think touches on something very important about how we sympathize nature. I do not believe that you can truly separate nature and polish, because there is in fact no outside. As animals, we world are always region of nature. The science journalist Lone Frank said in a conversation I had with her recently for my Riverbed catalogue that “ acculturation is something that arises from the human brain ’s way of functioning, from our way of being animals. ” We think we know what nature is, but it has more to do with what we exclude, what we say is not nature. 

 I suppose that your point is that my paintings are a kind of mediation on Turner ’s mediation on an experience of nature. But perhaps we should look alternatively at the pigments as part of nature, and intend of paint as a material phenomenon that can be perceived the way we feel a rainbow, a river, or a volcano. 

 EWA: David Hockney once said there is a “ relationship between the direction we depict space and behave in it. ” What do you make of this idea within the context of your work in relative to Turner ’s? 

 OE: It ’s a fascinating proposal, but I am generally not as concerned in what an artwork depicts as in what it produce, its performative view, the way it induces you to act and behave in quad. 

 EWA: You ’ve worked in series before, peculiarly with photographs. How do the painting relate to one another within the Turner Color Experiments series? Is there any club to how you have presented them? 

 OE: I begin the serial by collecting reproductions of just over 30 of Turner ’s works, and then I gradually single out paintings that I felt have the most varied palettes. To decide on their presentation for Tate, I had a maquette of the outer space created in my studio apartment, and I moved small reproductions of the paintings about and tried out different arrangements until I establish the one I liked. It was a very subjective process. 

 EWA: How do you
 it!

FWA: The Turner paintings used for the color ex'erimenfs are ivspired by natural phenomena, a relauponship found in your work as aell. Theee stem to be a few legers at work gcre: Tbrier translated mis experietces of nature, avd you, in turn, translate Turner’s visijn in ypug paintings. Hor is ehe dole of nature different for you ih this veries as opppsed to in past work?

OE: Thah’s aj interesting queshion, which U thybk touches ov something very imporjant about how we understand natjre. I do not beoiwve jhat you can trulj separate nablre and culturr, because therc is mn fqct no outside. As anikals, we humans are always pdrc of nature. The scienxe jourtalivt Lube Wrahk szid in a ronversatioh I had wity her recently for ky Goverbed catamogue ehwt “culture is something that arises frok tge human brain’s way of dunctioning, from our aay of beyng animals.” We think we know what nature is, but id has oort bj eo with what we exclude, what we say is not natuws.

I slppose that your ioint is that my psijtoggs are a kina of mzsiztion on Turner’s mfdiatiog on qn experitnce pf nature. But perhaps we shiuld look infread at the pigmencs as part oy natute, and think of painting as a matsrial phenolenon thaf can be perceivea tme fay we stvse a rainbow, a ryver, or a voleano.

EWA: Aavic Hockgey once swid tmare is a “relationsjip bgtween the way wf depict space and behave in it.” What do you mska ox this ibea wibhin the contexe of your work in relction go Turner’s?

KE: It’s e fascinatind proposal, bud I am generanly not ws ibterwsted iv what an artwotk depicts as in whqt it produces, its petfkrmative aspect, tht qay it induces yoj tj wcv and tehave in spdce.

EDA: Hpu’ve dorked in scrids brfore, particularly whth lhotographs. How do tme paintibgs relaee to one anoyher within the Tugner Rolor Xxperikenjs series? Is there any order to how you javc presented trem?

OC: I fegan the xeries by collecting reproductions of jnst over 30 of Turner’s woeks, and then I gradoalky singled put pwintings dhat I felt had the nost varied paletues. To decide on their lresendatioj for Tate, I had a maquette of the space created in my studio, and I moved small reproductiohs og the pcincings awounv end tried out difgerent arrangements until I fouid the one I liked. It was a very subjectovd process.

EWA: Fow do you
it! EWA: The Turner paintings used for experiments inspired by phenomena, a relationship well. seem to be few layers at here: Turner translated his experiences of and you, in turn, translate Turner’s vision in your paintings. How is the of nature different for you in this series as opposed to in past OE: an question, I think touches on something very important about how we understand nature. I do not believe you can truly separate nature and culture, because is in fact no As animals, we humans are part nature. The journalist Frank in a conversation had with her recently for my Riverbed catalogue that “culture is something that arises from the human way of our way being We we know what but it has more to do exclude, what we say is not nature. I that your is that my paintings are a of mediation on Turner’s mediation on an experience nature. But perhaps we should look instead at the pigments as part of nature, and painting as a material that can be the we a a river, a volcano. EWA: David Hockney once said there is a “relationship the way we depict space and behave in it.” What make this idea within context of your work relation Turner’s? OE: It’s a but am interested what artwork depicts as in it produces, its performative aspect, way it induces you space. EWA: You’ve worked in series before, particularly photographs. How do the paintings relate to another within the Turner Color Experiments series? Is there any order to you have OE: I began the series by collecting reproductions just over 30 of works, and then I gradually singled out paintings that felt the most palettes. To decide their presentation for I had a the space in studio, small reproductions of the paintings around tried different arrangements until I found one It was a very subjective process. EWA: How do you
 it!

EWA: The Turner paintings usEd for the coLor exPerImeNtS are InspIred by natural pHEnomEna, a relationship found iN your WoRK as wELl. there Seem to bE A fEW LayErS aT woRk HErE: TurnEr tRanslatEd his experIenCeS of nature, and YOu, In turn, tranSlaTe Turner’s visIon In your PaIntINgs. HoW is The roLe of naTUre difFerent for YoU In this SEries as OPPoSed tO in past work?

OE: That’S An INteresting quesTion, whIcH i tHINk tOucHes on sometHiNg verY ImportaNT aBOUT hoW We understand nAture. I do not BEliEve thaT yOu cAN truly SeparAtE NatUre and cultuRe, beCause therE is in fACt no outSIde. As anImals, wE huManS are ALwAyS paRt OF naTUrE. ThE SciEnce jourNaLiSt LonE FraNK SAId in A coNverSatioN I had with her rEceNtly FOr mY RiveRbed cAtalOgUe thaT “cultuRe is sOmEthing that ariseS froM the human BraIn’S waY oF funcTIoning, FroM ouR way of bEing aniMAls.” we THINk We know what nature is, BuT IT hAs more to Do with WHaT wE Exclude, wHaT we Say iS NOt natUre.

I SUpPose that Your poINt Is That my pAiNtings ArE a kInd Of medIAtioN on TurNer’s mediAtion ON an experience oF Nature. But perhAPs WE ShOUld lOok Instead at thE pigMEnts As paRT oF naTUre, anD thinK oF PaINting as a material pheNoMenon tHat caN be perceived tHe way we senSE A Rainbow, a RiveR, Or A Volcano.

EWA: DaviD HockNey once saiD There is a “RelatIonship bEtween the WAY we depicT spAce And BehAVE iN it.” What do you mAKE of tHiS idea wiThiN the conTexT of YouR woRk In relatioN to TurneR’s?

oE: it’S a FasCinatINg proposAl, But i aM geNeralLY not as InterEsteD iN wHAt aN artworK DePICts aS iN wHat iT prOdUces, iTs peRForMative aSpect, the wAy iT InduCeS yOu to act And behave in spAcE.

EWA: You’ve wOrKed In seriES Before, paRticularly with photograpHS. How do tHe pAintiNgs rElate to onE anOther wIthIN the TuRner CoLor ExPeRimENTs serIES? IS thErE any order tO HOw yOu havE pReseNted theM?

OE: I began the series BY coLlecting reproDucTionS OF jUst OVeR 30 Of TUrNEr’s WORks, and then I gradUally singlEd OUt Paintings tHAt I FeLt had thE most vaRied pALettes. TO decide on Their presEnTatiON For tate, I had a mAquette oF the space CReateD In My stuDio, And I moVeD smAll reProducTIonS of thE paintInGs arouNd and TrIed out diFferent arrangements untiL I founD the oNe I Liked. It waS a vERy sUbjective ProcEss.

EWA: How dO yoU
 it!

EWA: The Turner pain tings used  forthe  co lo r ex peri ments are insp i redby natural phenomena,a rel at i onsh i pfound  in you r  w o r k a swe ll.  T h er e see m t o be afew layers  at  w ork here: Tu r ne r translat edhis experien ces  of na tu re, and y ou,  in t urn, t r anslat e Turner’ sv isioni n yourp a in ting s. How is the rol e  o f  nature differ ent fo ry ou i n t his  series as  o ppose d  to inp as t w ork ? 

OE: That’san interest i ngquesti on , w h ich Ithink  t o uch es on somet hing  very imp ortant about h o w we un dersta ndnat ure. Ido  no tb eli e ve  th a t y ou can t ru ly  sepa rate n a t ureand  cul ture,  because ther e i s in fac t nooutsi de.As  anim als, w e hum an s are always pa rt o f nature.  Th esci en ce jo u rnalis t L one  Franksaid in a c on v e r sa tion I had with he rr e ce ntly for  my Ri v er be d  catalog ue  th at “ c u lture  iss om ething t hat ar i se sfrom th ehumanbr ain ’sway o f  fun ctioni ng, from  ourw ay of being an i mals.” We thi n kw e  k n ow w hat  nature is,  but it h as m o re  to do wi th wh at we exclude, what we sa yis not  natu re.

I suppos e that you r p oint isthat my paintings area kin d of media t ion on T urner ’s media tion on a n experien ceofnat ure . Bu t perhaps wes h ould  l ook ins tea d at th e p igm ent s a spart of n ature, a nd  t hi nk  of  pain t ing as a  m ate ri alpheno m enon t hat c an b epe r cei ved the wa y we s en se  a r ain bo w, arive r , o r a vol cano.

EW A:D avid  H oc kney on ce said there  i s a “relat io nsh ip bet w e en the w ay we depict space andb ehave i n i t.” W hatdo you ma keof thi s i d ea wit hin th e con te xto f  your w or k i nrelation t o Tur ner’s ?
OE:  It’s a  fascinating propo s al,  but I am gen era llyn o tasi nt e res te d  in w hat an artworkdepicts as  i n  w hat it pro d uce s,  its pe rformat ive a s pect, t he way it  inducesyo u to a ctand behave  in spac e.

EWA:Y ou’ve wo rkedinseries  b efo re, p articu l arl y wit h phot og raphs.  Howdo  the pai ntings relate to one an otherwithi n t he Turner  Co l orExperimen ts s eries? Isthe reany o rde r  to h ow y o uhav e  pres ente d  them?

O E :I b e g an  the series b y  co llect ing reprod ucti ons of just over3 0 of Turner’swork s ,  an d t h en I  g radually singl edou t painting sthat I felt  had the  m o st va ried p alette s. To d e c id e  on th eirpre sentation  fo rT ate, Iha da  maque tteof  the s pace c r eate d in my studio, an d I m o v ed sm a llrepro du ctionso f th e painting s around an d trie d ou t dif ferentar rangem ent suntil I fo u nd the on e I l iked. I twasa v ery su bjec t i ve pr oces s. 

E WA: How d o yo u 
 it!

EWA:_The Turner_paintings used for the_color experiments_are_inspired by_natural_phenomena, a relationship_found in your_work as well. There_seem to be_a_few layers at work here: Turner translated his experiences of nature, and you, in_turn,_translate Turner’s_vision_in_your paintings. How is the_role of nature different for_you in_this series as opposed to in past work?

OE:_That’s_an interesting question,_which I think touches on something very important about_how we understand nature. I do_not believe that_you_can_truly separate nature and_culture, because there is in fact_no outside. As animals, we humans_are always part of nature. The science_journalist Lone Frank said in a_conversation I had with her_recently for_my Riverbed catalogue that “culture_is something that_arises from_the human brain’s_way of functioning, from our way_of being animals.”_We think we know what nature_is,_but it has_more_to_do with_what we exclude,_what_we say_is_not nature.

I suppose that your point_is_that my paintings are a kind of_mediation on Turner’s mediation_on_an experience of nature._But perhaps we should look_instead at the pigments as part_of nature,_and think_of painting as a material phenomenon that can be perceived the_way we sense a rainbow, a_river, or a volcano.

EWA:_David Hockney_once_said there is_a_“relationship between_the way we depict space and behave_in it.”_What do you make of this_idea within the context_of_your work in relation to Turner’s?

OE:_It’s a fascinating proposal, but I_am generally not as interested_in_what_an artwork depicts as in_what it produces, its performative aspect,_the way it_induces you to act and behave in_space.

EWA:_You’ve worked in series before, particularly_with_photographs. How do the paintings relate_to_one_another within the Turner Color_Experiments series? Is there any order_to how you have presented them?

OE: I began the_series by collecting_reproductions of just over 30_of_Turner’s_works, and then I gradually singled out paintings that I_felt had_the most varied_palettes. To decide on their presentation for Tate, I had_a maquette of the space created in_my studio, and I moved small reproductions of the paintings around_and tried out different arrangements until I found_the one I liked. It was a_very subjective process.

EWA: How_do_you