LELSEY PUNTON

Lesley Punton, Remoteness is a medium of clarification, 2018, unique platinum print, 59 x 19.5 cm

John Kinross Scholar in 1990

 

How did the experience affect you as an individual? 
As a working class Scot who hadn’t travelled abroad very often prior to this, the experience was one that I would never have been able to financially undertake otherwise. It built my confidence – I remember the trip vividly almost 30 years on.

 

Lesley Punton, Untitled, RSA Collection

What was the impact on your practice?
I think it made me question the nature of working in the field. I wasn’t (if i’m being honest) very happy with the work I made in Italy (although the experience itself was fantastic) and discovered that my work made in response to place was best realised at a stage removed, back in the studio. Visiting the convent of San Marco and the Fra Angelico cells was perhaps the highlight of my trip, and a visit to Sienna seeing Lorenzetti’s allegory of good and bad government was another hugely memorable event. Postcards from Florence and Sienna have been on most of my studio walls ever since.

 

What would you say the long term impact has been on yourself and you work?
My love for Italian Renaissance painting has never diminished – it’s one of my greatest loves in art history. My current practice centres around experiences of wild landscape and remote places and I often find myself thinking about the landscapes in the backgrounds of many Italian paintings! Years later, it also got me thinking about rock, pigment, ground and colour, in relation to place too