ArtMag by Deutsche Bank Deutsche Bank Group  |  Responsibility  |  Art Programme  |  Deutsche Bank KunstHalle  |  Deutsch  
Home Feature On View News Press Archive Service
This category contains the following articles
The Museum as Marketing Temple - Mike Bouchet & Paul McCarthy at the Portikus, Frankfurt
Walk the Line - A visual journey at the Deutsche Bank Kunsthalle
MACHT KUNST - The Prizewinners - Washed Geometry: Rebecca Michaelis's Undogmatic Color Field Painting
Shared Visions - The Rise of the Johannesburg Art Scene
Dark Metamorphoses - Victor Man Is Artist of the Year 2014
The Question: Who or What Should We Keep an Eye on in 2014?
"I want my art to put people on edge" - An Interview with Clare Bottomley
No Escape - Idan Hayosh´s Suggestive Threat Scenarios
Let´s talk: Ingrid Pfeiffer & Bernhard Martin on Philip Guston
MACHT KUNST - The Prizewinners - Longing: The Photographic Works of Nicolas Balcazar
MACHT KUNST - The Prizewinners: Sonja Rentsch´s Imagination Space for the Deutsche Bank KunstHalle


Send a friend
"I want my art to put people on edge"
An Interview with Clare Bottomley

'Socially conscious' isn't a label you can throw at a lot of contemporary artists, but it's not something that scares off Clare Bottomley. The young English photographer received a Deutsche Bank award for creative enterprises this year for her unapologetically confrontational and politically-minded work. Casting herself as the protagonist in a series of photos and videos, Bottomley recreates classical religious imagery, playing the role of Jesus or various saints alongside members of her own family. Bottomley flagellating her naked back or lying draped across her mother's knee in only her underwear makes for uncomfortable viewing, but that may be the work's greatest virtue. As she prepares a new video piece on the treatment of autistic children, she discusses pushing boundaries, the failings of the British government, and her own religious views with Eddy Frankel.

Eddy Frankel:  I've seen you described as a photographer—is that a label you're comfortable with? The reason I ask is that in many ways the photography seems to document your work, rather than constitute the work itself.

Clare Bottomley: Yeah, I see myself as a social-facing artist who uses photography and video as a tool to discuss issues. Not that there's anything wrong with being a photographer, but I want it to be a tool for my interest in discussing certain topics. I see it more in terms of performance that hopefully leads to a social discussion, with the art being the documentation itself.

Could you explain what you mean by social-facing?

For me, art for art's sake is a false concept. I like art that is about expanding people's minds and getting people to look at things in alternative ways. That's the important thing that art can do. It can allow people to discuss topics outside of areas that are often fuelled by preconceived notions. If you discuss a topic within an art environment, it allows it to become a bit freer, enabling arguments on both sides to expand.

What's wrong with art for art's sake?

I feel that art can be slightly inward-looking sometimes. I prefer art that is for everybody, not just for gallerists or people in the art world, but for other people to look at and understand.

Surely some art that's purely aesthetic—and therefore art for art's sake, like abstract painting—can still be beautiful?

When that kind of art was being created, working class people could go to galleries to see something beautiful that they wouldn't necessarily see in their normal lives, and so it was doing something socially. The same thing happened when they started opening museums up in Manchester and Sheffield: they were showing aesthetic art, but using it as a social tool to give people a break from their mundane lives. This is the kind of usage I like: as a tool.

You've mentioned the role the church played in your life growing up. Does this continue to have a lasting impact? What things in particular about the church's role in your life have been so powerful?

I still have a sense of Catholic guilt about things; I'm very aware that it has given me a bracket to view the world. I don't think people are aware in Western society how embedded our religion is, particularly in terms of how we view other religions. Whether it's in our moral structure or our judgments, it has definitely shaped the way we look at other people. People assume we're a secular society, but I disagree. I'm not anti-religion at all, I just think people need to be aware where it is embedded and how it has come to define how we judge people within our society.

You talk about this in political terms, but your art feels very personal. Why is there a discrepancy?

I believe that politics comes from individual people, and I feel that it's important to realize that. We need to understand that political structures also exist within the family setting, and that these issues influence how we treat each other.

Why do you cast yourself as the central religious figure in your photographs?

I've always used myself in the central role because I like to see myself as this malleable surface that I can play with. Originally it started with the idea that if I used myself in the pictures it would create a personal connection between the viewer and the artist. So I felt that if I put myself into these situations it would help the viewer understand and almost put him or her into these situations too. I was hoping to create a stronger link with the viewer.

You also lived as Jesus for four months. Can you tell me about the experience and why you chose to do it?

I was really interested in becoming Jesus. Not just performing the role—I really wanted to become him. I found a Jesus diet online, and thought it was such a stupid idea. So I thought let's not just go on the diet, let's try to become Jesus, let's imitate him. People try to be as good as Jesus, but it's a controlling aspect of the religion because you just won't be as good as him—you're a human being, we fall short. I tried to do the Jesus diet. I failed, got drunk, ate a kebab. I tried to walk on water, but I just fell through. I couldn't turn water into wine. There's always this discrepancy between trying to be as good as Jesus and being human. And I think it's an unfair position to put people in, because you'll always feel unworthy.

Walking on water and turning water into wine—is that really what you think encapsulates Jesus’s message? Because obviously when people say you should live like Jesus, they're pushing you to live a more moral life.

No, not at all. These were just examples of things he could do that I could try to imitate. They're iconic gestures, things that people understand right away as religious symbolism.

Have you ever been criticized for casting yourself as a religious figure?

God rest her soul, I don't think my Nan would have liked it! But no, I don't think I'm being overtly disrespectful about it. But then again, I'm more interested in showing work outside of the gallery context. Because, typically, people who go to see my shows in galleries will be art people who may not be all that religious in the first place. I would be much more interested in showing it to people who have something more passionate to talk about.

A lot of your work can be quite unsettling, the flagellation videos for example—is that something you aim for?

Definitely. The whole idea of posing as Jesus in front of my semi-religious family is about unsettling people. I want my art to put people on edge and make them question who they are, seriously question their standpoints and viewpoints.

Seeing as you feature so heavily in your work, can you tell me about your take on the politics of the body? Is that tied to a gendered approach to your art?

It's pretty impossible to see it without the feminist framework, and I think that tone is in the work, but it's just one element of the work. I'm interested in body politics and the idea that Jesus was male, but that he was shown in a very fragile state, so that his role was almost mixed-gendered. He's often depicted as thin, with high cheekbones and long hair. He's not really depicted in a way we would consider manly today. So I'm interested in playing with that look.

How comfortable do you feel with your own view of your body?

I feel comfortable enough to put my body in these images. But just because I do so doesn't make me immune to the knowledge of how much judgment there is concerning my physical form. How I personally feel towards my own body view is a personal question, but I would say it's a work in progress. It will never be a comfortable experience putting on display the faults and failures of my own body, but I somehow believe it to be a necessary discomfort to make the connection I want with the viewer.

Do you feel people judge you and your body through the images?

I hope they judge it for what it is, a body that is imperfect and flawed, but not unlike their own. It's important to be aware of how much attention is aimed at your physical appearance.

How about your work as an educator—what does it mean to you and how tied is it to your practice?

It's important for my art because I like art that everybody can understand—that's when art becomes powerful. So it helps me be aware of what's going on and what affects young people. When you're discussing big topics with them, they aren't hindered by history and they can be open in their opinions. So it helps me be braver with my art and to look at topics that need to be addressed. It keeps me grounded, too.

Your current  Deutsche Bank Award project involves working with a kid called Johnny. Can you tell me about that?

Johnny's a young lad with autism I worked with as a tutor in a youth center. I've always been interested in how these kids go from being young people with autism to adults with autism, in the way they're helped throughout the younger years, but then just put into housing when they're older. So it's this transitional age of 17–19 that really needs to be looked at, especially at this time, when our government is taking away funding to help people with disabilities enter the work force. Right now there's all this fear of benefit fraud and the government is using it to control society's opinion.  
Johnny and I worked together to plan the filming of this video. He devised a very precise plan of the different aspects of his life, while I worked on a series of monologues. It's important to the project that Johnny takes an active role in all aspects of the project, from helping choose the camera to worrying with me about the budget. He's naturally much better with money than I am. This is Johnny's view of how he and his life with autism are situated within our society.

Stay up-to-date on contemporary art-with ArtMag. Register here for our newsletter.

Alternative content

Get Adobe Flash player

On View
Imagination. Thought. Utopia: The Circle Walked Casually in the Deutsche Bank KunstHalle / It´s About Freedom - Philip Guston´s Late Works in the Schirn
A Homecoming - Deutsche Bank Gives Kirchner Painting to Museum Folkwang / Focus on Africa - Deutsche Bank Foundation Sponsors MMK Talks / Home and Away and Outside - The Schirn Honors Tobias Rehberger / Luminale Frankfurt: TWINKLE TWINKLE in front of the Deutsche Bank Towers / From Zurich to Mexico City - 17ZWEI Participants Invited to Zona Maco Art Fair / Homage to Louise Bourgeois - Deutsche Bank at the TEFAF / A Prefab Building for Berlin Palace - Deutsche Bank Donates Important Work by Neo Rauch for Charity Auction / "Objects that we can only marvel at" - Wiebke Siem awarded the Goslar Kaiser Ring / Imran Qureshi in Dubai - Salsali Private Museum Shows the 2013 "Artist of the Year" / Collective Action: A Preview of the 2014 Whitney Biennial / Window to the World - A Tribute to Günther Förg / Okwui Enwezor Appointed Director of the Venice Biennale / A Place of Art Production and Exchange - Villa Romana at the Bundeskunsthalle / Wolves in Brisbane - Cai Guo-Qiang´s "Head On" at the Gallery of Modern Art / Regarding the Other - Lorna Simpson at the Haus der Kunst
Intuition and Experimentation - The Press on To Paint Is To Love Again in the Deutsche Bank KunstHalle / "Breathtaking in Part" - The Press on Frieze London and Frieze Masters
Imprint  |  Legal Resources  |  Accessibility  |  Privacy Notice  |  Cookie Notice
Copyright © 2014 Deutsche Bank AG, Frankfurt am Main

+  ++  +++