Darren Reid is a self-taught artist who paints intricately detailed contemporary landscapes focussing particularly on his native Britain and the Californian landscape. From an empty stretch of road, a busy LA intersection, or a simple laundromat at night, Reid looks to find beauty in the humblest of places.
You often paint overlooked places, from the British countryside to Californian urban streets. What draws you to each of these environments?
I think I’m just naturally drawn to quieter, more overlooked locations, I like to try and find beauty or interest in places that perhaps you wouldn’t expect to find any. The locations I paint often pick themselves, I’ll be in a place that just sort of says ‘paint me’, I’ve learned to recognise that feeling and that will be the point I start photographing or sketching, I’ll be thinking about what it is about that place that I want to try and capture when I’m back in the studio.
Darren Reid - Ben & Jerry's
In past interviews you’ve spoken about using photographs as references but never directly copying a single image. Can you expand on how photography informs your work without dictating it?
Photography is very important, it’s my visual reference, although the compositions themselves are invented they are largely based on real locations, this is where I refer to my photographic references. I start with a detailed under-drawing where I’ll play with the perspectives, I’ll remove and add elements, I’m trying to find a composition that has balance and rhythm, that hopefully evokes what it is I’m trying to say with the painting, if I tried to directly copy a single photograph that simply wouldn’t be possible, ultimately I’m a painter, not a photographer.
You describe yourself as ‘self-teaching,’ rather than ‘self-taught,’ indicating a continuing process of learning. Are there any particular artists or art historical movements that have shaped, or continue to inform your approach to landscape and subject matter?
I’m always learning, I’m not sure you can ever master painting, each painting teaches me something new. I admire many realist artists from the past to those working today and I think you’d have to say realism is the only major movement that has informed my work. I suspect the biggest overall influence however is actually my lack of any training, which has led me to discover ways of working that suit me, this is something I actually prefer as I like to find my own way.
Darren Reid - Icarus
In 2020, your work was exhibited in The Contemporary Human Condition, at JD Malat Gallery. How important is it for you to portray the human connection to modern life and nature?
All of my paintings have meanings although I prefer not to explain them, I like people to have their own responses to the work. Some of the paintings are about love or loss, some loneliness or joy and some are simply a record of a place that I loved spending time. I’m presenting the viewer with an image that when they’re looking at it I hope engages with them in a deeper way, that might be by stirring a memory or evoking an emotion, but whatever it is I hope they feel something, that there is a connection. One of the best things about being a painter is when I get messages from people from all over the world who have connected with my work and they feel compelled to reach out to me, that’s a lovely feeling.
Do you have any projects on the horizon that you would like to share?
I’m currently showing two new paintings at JD Malat Gallery in Mayfair, London as part of their summer show. Beyond that I’m busy in the studio working on a California seascape painting at the moment and after that I’ll be preparing for my next print release which will be around October time.
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Questions by Victoria Lucas
