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Interview with Morag Webster - "Painting is an exercise in story telling, composition and colour"

SP: How did you become interested in art?

MW: The home I grew up in was filled with artifacts created by Africans, paintings by my grandmother and great grandmother.  When my parents saw potential and the desire in me they encouraged me with the guidance of my grandmother.  Rosalind Jameson RA (my grandmother) was a professional painter of portraits and animals in England and Africa; she was a woman of great means. My mother knitted, sewed and made a tent for the family to camp in.  My father loved to build things like tables and lamps from various materials. He even made a little brass cannon in the basement.  Art books, paper, paint and other materials were always available to me as a child.  The idea that I could paint and build things and make a living doing so set the stage for my future.

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

MW: The subjects in my work are taken from my experiences as a Scottish/Canadian woman and ancestral experiences. I have developed bodies of work based on the evolution of modern culture and the consumerism of nature. My work explores the relationship and contrast between nature, history and politics. Through painting portraits or building installations my work illustrates these ideas about our community’s development. As a painter my work uses traditional painting techniques in clear and colourful way.

SP: Tell us a bit about building and designing props for theatre.

MW: I have worked in theatre for about twenty years. In that time I have built props, designed sets and costumes winning three Brickenden Awards. Some of the costume creations I am most proud of are the two lizard costumes I built for “Seascape” with Janice Johnston.  I have worked in cities all over Ontario; Burlington, Sudbury, London, Port Stanley and Toronto. I am now working in film and television as a painter and props person. The work is never the same and I love the creative aspect of problem solving.

SP: Do you find there is a correlation between building props and painting?

MW: Both are creative but building involves three dimensional thinking and organizational abilities. Painting is an exercise in story telling, composition and colour. Sometimes I combine my skills to tell a story.

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

MW: As people we are all so different and so very much alike. There are so many stories to tell, each one of us with something unique that makes us special from the rest. I want to be able to capture that special something, the twinkle in the eye, a certain tilt of the head. My inspiration is also drawn from some of my favourite portrait artists like Frans Hals, Caravaggico, Mary Cassatt, and Lucien Freud.

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

MW: Working in theatre and film is a team effort, where working as a painter is a solitary thing. The best thing about doing both is that every time I go to work on a project it is always with a fresh look. There are times when I am on one project and I see the solution to another piece. I am driven by experiences to express myself in many creative ways.

SP: Are there subjects you prefer to paint?

MW: I paint what inspires me at the time, whether it is a need to express an opinion about “Pathos”, an experience I have had or someone else’s story.  At the moment I am working on a series with water as the main theme. Exploring the properties of water, the political value of water and the cultural connection to water. I am working trying to capture these many facets of water in a painterly way.  Selkies or mermaids from Celtic folklore are being incorporated into the pieces. I will be having a show in March at the Wychwood Community Gallery, Toronto featuring this series of paintings.

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

MW: My experience on the show was much more than I had expected. Working with the crew was like working with in a family unit. Everyone was open, friendly and encouraging.

SP: Over the years, how has your work changed?

MW: My paintings have gotten bigger and I have combined skills to create installations.

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

MW: I hope to see myself creating many paintings and other works that people will want and enjoy. My dream would be to have studio big enough to create other works I have in mind.

Artist Stats

Morag Webster's artwork has been a quest for expression in a variety of media including painting in oil, watercolours and pastel, as well as forays into the production of sculpture using various materials. This drive has also lead her to work in film and theatre as a props builder and designer. She has had formal training at Hereford College of Art, Ontario College of Art, Sault College, as well as the University of Western Ontario, plus numerous workshops.

www.moragart.com