Rose Wylie, John Moores 2014 shortlisted artist- guest blog

What made you enter the John Moores Painting Prize?

I’ve sent into the John Moores as often as it comes up – I’ve always felt very happy about it – it’s a painting only show;  this gives it a special place. I count that.

How does it feel to be one of the shortlisted artists?

Very exciting. The John Moores has a good feel to it; all artists like it, and the selectors are artists, but you are often chucked out. And Liverpool feels good, it has its Tate, and its potatoes, and it’s twinned with Cologne. I’ve just been looking again at Sigmar Polke (I’ve got a great catalogue from Tate Liverpool 1995).

Do you have a favourite John Moores winner?

Hard to choose. Lisa Milroy’s clarity, and ‘homage’ to handles, perhaps. Peter Doig perhaps….

Are art prizes important?

Yes, they give colour, punctuation, something to try for every year, or, as well, every other year.  And the prize money would make you feel terrific, as well as being a fantastic help if you’ve got something you really need it for.

Why paint?

I often wonder, since decisions are terrible, endlessly difficult; and painting is nothing else. But it’s also exciting …. out on its own!  It makes you feel there’s a point to being alive; and that you’re doing something that’s real.

Tell us about your studio space

No specific needs, except enough space to work, and windows. A studio is a place to keep working in, and leave things about how you like and in the order you like, which for me is so I can see stuff on-going. I like chronological pile-up and using the floor. It’s completely ordered – ordered by how I use it. Not sure, though, if the man-at –the-bus-stop would agree. I like being in it.

Do you have a routine?

No.

Do you listen to anything when you paint?

No, it would be pointless. I don’t hear anything when I’m working, it’s about exclusion. I don’t like to have someone else’s feel or work around in the studio. I mean it’s all about what I’m trying to do.