The Show

Meet the Artists

Your Portraits

Interview with Margaret.

SP: When did you develop an interest for painting portraits?

MS: It was my very first introduction to painting in acrylics in art school. There were the usual assignments:  monochromatic still life, abstract collage, and self portrait.  I used an old rejected proof from my high school graduation photos.  I blew it up really big, (no ego there) and realized that it was very difficult but fun, and the expression on my face in the finished portrait reflected less the photo image and more the look of concentration on my actual face as I worked on it.

If you look at my website you can see that every few years, I follow Rembrandt’s example and when I don’t know what to paint or am short a model, I paint myself.   I’m an exceedingly patient, professional and cheap model.

SP: You have worked in numerous fields.  Do you feel working in these different fields has helped your artwork?

MS: Oh, I think so.  All life experience is grist for the mill.  My favourite painters have not inhabited some esoteric ivory tower.  By working as a chef, a teacher, and a volunteer with people outside of “polite society” in different countries, I’ve sometimes seen a little more of human nature than I’ve cared to, but it’s increased my appreciation for honesty.

As I age and hopefully mature, I can see where all that life experience has infused my painting. I doubt I will ever be a painter who renders lovely flattering portraits in indefinite space.   Perhaps my strength is speaking of life with its sadness, irony, nightmares, and downright goofiness.

SP: How would you describe your work to someone who has never seen it before?

MS: Yikes,  I gave up doing that!  These days I hand them a card with maggiethered.com printed on it, show them a photo of one of my paintings on my phone, or direct them to the gallery.  I either freeze up like a deer in the headlights or ramble on so much, people’s eyes roll back in their head and they retreat to the bar.

SP: Why do you think you are compelled to paint portraits?

MS: Well, I don’t really think it’s a mental disorder, but it might be close.  Maybe I was traumatized by a Francis Bacon when I was an infant!  It’s just what grabs me.  I realized a couple of years into art school that the portraits and what historians call genre painting (people in everyday life) were always what I gravitated toward in museums or street graffiti.  Human imagery is very compelling, just look at print ads:  9 out of 10 have people on them.  And the 10^th one has a puppy.

SP: How do you maintain momentum in your art practice?

MS: I find that has got to be one of the hardest things about being an artist.  I’m my own boss and my boss is pretty lax some days.  Showing deadlines are necessary and I get regular pep talks from my gallerist, who is very supportive. I do what I can to give myself structure, a regular schedule, a studio with no doorbell, away from the time wasting temptations of home, and I am becoming stricter about not doing other things during my scheduled work hours. Short of a moat, I’ve managed to limit distractions pretty well.    On the other hand, I have to be open to whims of creativity and emotion, otherwise I’d just be another factory pumping out widgets, so I still must pay attention to what my feelings are telling me, and let myself follow whatever subject appeals to me, no matter how odd  it may seem.   Disciplined flakiness must be protected ruthlessly.

SP: Are there subjects you prefer to paint?

MS: Just show me a person being honest.  And hold my lantern, will ya?

SP: Was your experience on Star Portraits different from what you thought it was going to be?

MS: Not to be all, but I was really surprised by how very pleasant everyone was to work with. I expected more big city brusqueness.   All the hurry up and wait on the shoots gave me some good opportunities to talk with the other artists (visual, performing and filmmaking) involved with the show. Two weeks to finish a painting was downright scary and it was frustrating to not have the luxury to consider my painting at length near the end of the process, but it was a rush too.  The big change from my regular routine was a blast!

SP: Where do you see yourself and your art in the future?

MS: Oh wow, can I call my therapist and get back to you on that one?   It’s still so early in the game that right now my primary job is to keep my butt planted firmly in front of that easel and allow things to flow and evolve as they may.  A year ago, I couldn’t imagine I would be part of a television show!  Of course I need to be somewhat professional, and I have dreams of fame and highly enlightened wealthy patrons.  However, I have learned from hard experience that too many regrets and preconceived notions about how things should happen have only left me frustrated, uncreative and tied up in knots.

Artist Stats

Margaret Sutherland has had many different jobs, from sous-chef, baker and motel manager in her native New Brunswick, to teacher in Hong Kong. She received her first set of oil paints at age nine. The texture of paint and aroma of linseed oil brings out a visceral hunger in Margaret Sutherland. Later, she studied classical methods of drawing and painting the figure at the New York Academy of Art, earning an MFA.