JEREMY HOUGHTON’S COMING TO THE PARTY

There aren’t many water colourists who get an invite to the abstract art world party. Jeremy Houghton’s getting one. Lucy Fenshaw discovers why...

It has been a long while since water colours have been looked on favourably by the contemporary art world, let alone the abstract one. They have a reputation synonymous with rather grey coffee-morning hobbyists trying to recapture a landscape or still-life more in accord with the Victorian era. For the modern collectors who want ‘impact’ paintings, water colours don’t get a mention on their shopping lists, not unless they’ve been tipped off about Jeremy Houghton’s ‘Windows’.

Houghton did A-level art followed by a foundation course at The Slade, but was advised that studying for a ‘proper job’ was the only way ahead. He ended up reading Law. However, even with an LLB in his bag an easel was still far more appealing than a desk, so he happily pulled another U-turn and his career in art began. ‘The decision was a huge relief,’ he recalls, ‘Art had always been my passport to the world, so to be denied my passion and true vocation was incredibly soul-destroying’.

Houghton lived and painted in the Cotswolds, New Zealand and Aix-en-Provence, but like any business the first two or three years are crucial in determining whether you sink or swim. Particularly in the arts because prior to making a living you have to make a name and to do this not only is talent needed in abundance, but time and money too. So Houghton taught in Oxford to help keep some paint on his palette, and to cut a long story short, this lead him to South Africa from where he has just returned after five years. He was given the task of starting up the Art Department at the newly established International School of Cape Town, teaching the secondary students IGCSE and A-level art. It proved to be a defining period in his career and development.

The beautiful Cape of Southern Africa gave Houghton new horizons to explore. ‘On my travels I have always preferred to sketch and paint rather than take photos’, and it is for this simple reason why Houghton has become so adept with water colours. The medium is very portable and dries relatively quickly too, so not surprisingly, it is the perfect companion for most travelling artists. His technique is, ‘To paint as quickly as possible, and then let the paint do the work’. He is the first to admit that this impressionistic approach is always a bit of a gamble with some pictures falling short of his high standards, but hastens to add, ‘You have to create your own luck’. I wondered what happened to the paintings that didn’t work…

Houghton has an air of motivation and direction that is incredibly inspiring. He tries to put a refreshing slant on his approach to work, making his own footprints rather than stepping in others. ‘I always try to make positives out of negatives and this lead me to discover these Windows’. Houghton showed me some paintings that, ‘Didn’t pass the test’. I wasn’t sure whether he was being harsh on himself or his failures.  ‘Even if a picture hasn’t completely worked, it will still have some beautiful aspects within it’. He scanned the surface of various discarded paintings, using an empty photograph slide as his view-finder, and sure enough before not too long he was cutting away and producing some absolutely stunning miniature abstract watercolours. His findings were both representational and abstract. ‘My next problem was what to do with them all. I didn’t want to lose any, and I wanted them to be easily seen. So I decided to stick them neatly on sheets of paper.’ Somewhat reminiscent of a fossil collector I thought, meticulously storing his prize finds in a cabinet. The searching, finding, extracting, displaying and sharing are all part of the process, but in Houghton’s case he had stumbled on something even bigger. Not only does each individual miniature water colour force the onlooker to stand up close and admire it for its intrigue and individuality, but one is also obliged to stand back and appreciate the montage for its abstract entirety. I found myself simultaneously moving backwards and forwards, admiring the multiple viewpoints which work better and better from every angle. If a painting’s value lies primarily within its visual experience then Houghton is definitely onto something here.

The naming of the pictures is another interesting part of the story. Houghton explained that in parts of Africa the ‘witch doctors’ or ‘Sangomas’ each have a collection of special shells and stones. When asked to predict the outcome of a situation they throw their objects onto the ground and interpret them to cast light on the future. These objects are known as ‘Windows’ in many African dialects and provided Houghton with the perfect name for his new pictures.

The finished result is a unique style of art that is very simple and specific, yet surprisingly versatile. Those seeking commissions are faced with an infinite choice of possible colour, size and shape combinations, which can be sure to compliment a wide variety of interiors. It is no wonder why these pictures have caught the eye of  so many collectors. Being able to hang a water colour amongst a selection of contemporary paintings is like being dealt the final card of a ‘full house’. Houghton’s paintings offer the viewer a two-dimensional surface alluring with depth, movement and colour. They are fresh, vibrant, and original, resonating with pattern and playfulness, and well deserving of the recognition they are gaining.

When I say ‘infinite choice’ I choose my words carefully. Houghton is opening his new gallery this November, near Broadway in the Cotswolds, by covering it, top to bottom, with around 50,000 of his ‘Windows’. Slightly ironic that an artist who can boast 11,000 square feet of personal wall space is working on miniatures, but I get the impression Houghton enjoys this paradox. ‘The overall effect is going to be amazing! The walls are going to be electric; I cant wait to see people’s reactions!’ For an invitation to view this spectacle you simply have to contact Houghton through his website: www.houghtonart.co.uk. And for an invite to the abstract art world party? Why not try Jeremy’s new neighbour, the new Lord of Toddington Manor, none other than  Mr Damien Hurst!