Transcript of John Moores 2010 Stage 1 video
Voice over: So here we are, we're at the Afoundation in London at Rochelle School and we're here for the second day of judging for stage one of the John Moores 2010. The judges are currently upstairs doing their judging and hopefully today we're going to have a chance to chat with them and see what they make of the competition so far. It's a really amazing building and they actually filmed the School of Saatchi program here last year. So it's really interesting to go behind the scenes and have a good look around. So let's see if we can get hold of some of the judges!
Interviewer to Ged Quinn: So have you found that you've had any locking of horns yet, or do you feel that you're on the same wavelength - despite the fact that you do have quite different styles?
Ged Quinn: I mean, there hasn't been any friction. There's been the occasional raised eyebrow from one judge to the other when they've said, "I'd like to see that again." And if any judge has wanted to see something again, well that's fine.
Interviewer: I'm going to ask you about Liverpool and see if you can dredge up any memories for us! When you were growing up in Liverpool, did you used to visit the Walker and do you have any memories of that?
Ged Quinn: Yeah, huge amounts of memories. I mean it was a day out for us and the family used to take the children there on a Sunday as a special treat, you know. The John Moores is where I got information as a very, very young artist, about contemporary work. As far as I can remember it was the only program of contemporary art that was in the city at the time.
(Judges discussing work)
Alison Watt: ...That one actually gets better with a second viewing rather than loses something. That one gets better...
...it looks like it's textured doesn't it?
Ged Quinn: It's like carpet tiles...
Interviewer to Gary Hume: So do you find there are particular elements that you are looking for in the paintings and is that influenced by any of your own work, like bright colours?
Gary Hume: Well there are things that I don't like. I can't stand like fairytale things, I don't really like a big narrative, I don't like things with 'the artist with the angst', you know all that stuff I can't stand. So unless the painting itself somehow goes past that, if it's beautifully composed or beautifully painted - it there's something beautiful about it - then I'm like 'ugh, I really cannot stand a load of this tawdry meaning'. That's unbearable to me.
Interviewer: So what makes a painting stand out for you?
Gary Hume: It has to beautiful. Well it has to be beautiful or it has to be ugly.
Interviewer: And things that are going on in the world, like the recession, have you seen any reflection of that in any of the paintings you've seen?
Gary Hume: There's hardly any directly political ones...there's been a sort of childish desire for safety. There's been fantasies of things being alright; 'don't worry...it'll be alright...'
(Judges discussing work)
Gary Hume: I like it. It's horrid, but I like it.
Alison Watt: (Laughs) It is really horrid isn't it!
Gary Hume: Yeah it's a dirty protest...
Alison Watt: It's a dirty protest with bunting!
Interviewer to Alison Watt: Have you found that your own styles and techniques and approach to painting is influencing your choices in any way?
Alison Watt: It's funny because I didn't have any pre-conceived ideas about what I would do when I started judging the competition. I thought that was quite important. What's been really quite wonderful is that as the judging process goes along, you begin to almost find out something about yourself. You realise by what you are choosing, what is really important to you.
So it's quite exciting! Seeing things at this stage is quite tantalising because it's only possible to read the surface at the moment. So the next stage, as we progress, I think it's going to become more and more exciting. We'll actually get to see the works in the flesh, as it were.