Institute of ArtologyStudio 1C307Chocolate FactoryClarendon RoadWood GreenLondon N22 6XJEmail: admin
artology.infoISBN 0-9545702-3-5© Rita Hatton and John A WalkerUnless otherwise stated all photographs are by Rob PetherickDesigned byThe Set Up34 High StreetThames DittonSurrey KT7 0RYEmail: info
The Orange Series I & II: An Interview between Rita Hatton and John A Walker
RH. From 1965 to 1975, you painted oranges. Why oranges?JW. At Art College I ended up producing large red/green abstracts and fetishistic sculptures,but after leaving in 1961 I felt dissatised by the lack of content and decided to return tonature.
I turned to fruit as a simple token of nature. Of course, it is also a sign of humanculture because it is cultivated and acommodity because sold in supermarkets.At rst I painted apples but since they were soredolent of Cézanne I switched to oranges.The subtext of the paintings was the theme ofpictorial representation and the sort of gameswith it Magritte used to play – there was avogue for Magritte in the 1960s.RH. Was the art education you receivedirrelevant then?JW. No, but it had been very puzzling becauseit had involved exposure to so many disparatesources, principles and inuences. Forinstance, we were taught Basic Design, amodern course which involved exploring line,colour, structure and so forth separately.However, there was no guidance as to howthey were to be brought together again. In one1969 canvas I painted an orange three times interms of line, tone and colour within onecanvas but I left it up to viewers to bring thethree images together in their minds. We werealso taught historic academic disciplines such
Orange: colour, line and tone
Oil on canvas, 137 x 91 cm, Orange Series I, 1969Collection Sophie Orman