CO-CREATORS OF LOVE & ART
Interview with Artists Catherine Cavallo and Simon Barthet
PUBLISHED IN MALTA NOW, FEBRUARY 2006
Simon Barthet, self-portrait
Simon Barthet and Catherine Cavallo are both well-known artists in their own right with very individual and striking styles. Also husband and wife, with a young child, Erika Brincat gets a chance to meet them in their family home, and find out more about their art and the challenges of being both parents and artists at the same time.
The mesmerising journey into their world of art begins at the threshold of their cosy home. The stairway is surrounded by such powerful paintings that by the time I reach the main door I am already dizzy with all the new images to absorb. They both greet me with an equally warm welcome and we sit down to chat in the living room over a glass of wine. Their living space is also strewn with vivid works of various sizes.
Do you both come from artistic family backgrounds and who are your main inspirations within and without your respective families?
Catherine tells me: “From my side of the family its not really the case, although a distant relative of mine did some research into our family tree and thanks to her I found out that my great, great, grandfather Alessandro Casolani was a prominent painter, whose work can be found at the Palazzo Ducale in Sienna, a few blocks away from where I once had my own work displayed in 1994! The proximity of the locations was a total coincidence as I only discovered that I was a descendant of his some time after my exhibition was held!” Simon’s grandfather on the other hand is the well-loved Esprit Barthet who needs no real introduction. “I was into art since I was a kid” Simon tells me: “and my grandfather gave me private tuition for three years, while I was also studying at the School of Art. For me art was always from the heart and I gave a lot of my work away, or kept it stacked up before I started painting more and eventually decided to have my first exhibition”.
From the wider international art scene Catherine says she likes “a large variety of artists, amongst whom Michelangelo, Rembrandt, Goya, Van Gogh and Gaugain are the more prominent. We went to an exhibition in Amsterdam a few years ago about the period of their lives when Van Gogh and Gaugain lived together, and painted the same scenes in different styles. Van Gogh adored and idolised Gaugain while Gaugain found Van Gogh quite irritating! Van Gogh remained misunderstood throughout his lifetime. I also admire Francis Bacon who was recognised as one of London’s top artists until he was succeeded by Lucian Freud”. She opens some of her art books, and points out the thick textures and layers involved in Freud’s realistic portraits, which have an eerie kind of life-like energy to them. On the other hand, Bacon’s work has a touch of the surreal and my first impression is that I find his images more attractive and a little less disturbing than Freud’s. Simon says: “I love all types of art - Cezanne, Van Gogh and Picasso to mention just a few.”
The mesmerising journey into their world of art begins at the threshold of their cosy home. The stairway is surrounded by such powerful paintings that by the time I reach the main door I am already dizzy with all the new images to absorb. They both greet me with an equally warm welcome and we sit down to chat in the living room over a glass of wine. Their living space is also strewn with vivid works of various sizes.
Do you both come from artistic family backgrounds and who are your main inspirations within and without your respective families?
Catherine tells me: “From my side of the family its not really the case, although a distant relative of mine did some research into our family tree and thanks to her I found out that my great, great, grandfather Alessandro Casolani was a prominent painter, whose work can be found at the Palazzo Ducale in Sienna, a few blocks away from where I once had my own work displayed in 1994! The proximity of the locations was a total coincidence as I only discovered that I was a descendant of his some time after my exhibition was held!” Simon’s grandfather on the other hand is the well-loved Esprit Barthet who needs no real introduction. “I was into art since I was a kid” Simon tells me: “and my grandfather gave me private tuition for three years, while I was also studying at the School of Art. For me art was always from the heart and I gave a lot of my work away, or kept it stacked up before I started painting more and eventually decided to have my first exhibition”.
From the wider international art scene Catherine says she likes “a large variety of artists, amongst whom Michelangelo, Rembrandt, Goya, Van Gogh and Gaugain are the more prominent. We went to an exhibition in Amsterdam a few years ago about the period of their lives when Van Gogh and Gaugain lived together, and painted the same scenes in different styles. Van Gogh adored and idolised Gaugain while Gaugain found Van Gogh quite irritating! Van Gogh remained misunderstood throughout his lifetime. I also admire Francis Bacon who was recognised as one of London’s top artists until he was succeeded by Lucian Freud”. She opens some of her art books, and points out the thick textures and layers involved in Freud’s realistic portraits, which have an eerie kind of life-like energy to them. On the other hand, Bacon’s work has a touch of the surreal and my first impression is that I find his images more attractive and a little less disturbing than Freud’s. Simon says: “I love all types of art - Cezanne, Van Gogh and Picasso to mention just a few.”
Indian Girl by Catherine Cavallo
Artists are sometimes stereotyped as lacking in discipline and direction. Do the two of you balance each other well in these areas?
“Yes very much so. We do,” they both agree. “One has to be very disciplined and focused to be a successful artist”, says Catherine. Simon agrees and adds that since he also has a fulltime job, he needs even more discipline to work on his art in his free time. Catherine explains further: “Discipline. I learnt that during the four years of art school in London, and it’s what allows me to keep that sense of direction even up to today.” Simon goes on to explain that since they met, and he has now had his first solo exhibition, he has been painting more than before, and Catherine also pushes him in that direction.
Does the art world provide the free time and flexibility parents need so frequently?
This question seems to hit right home! Catherine affirms: “It’s the other way around actually. No. Parenting does not provide you with the freedom and flexibility you need as an artist. It is not conducive to painting at all. However, the whole experience of parenting is worth every minute! And with the help of family and friends we still manage to get a lot done.”
Has your relationship built an even more solid foundation for your artistic talents to blossom?
“Definitely yes!” they both look at each other and confirm. “We have been married for 5 years, and we met some 8 years ago. Being with someone who loves the same thing, and has art as a main life focus is great – we even travel to see different exhibitions together!” Catherine describes how they visited Paris for seven days and spent every single day visiting one gallery after another while Simon remembers time spent together visiting Picasso’s house.
“Yes very much so. We do,” they both agree. “One has to be very disciplined and focused to be a successful artist”, says Catherine. Simon agrees and adds that since he also has a fulltime job, he needs even more discipline to work on his art in his free time. Catherine explains further: “Discipline. I learnt that during the four years of art school in London, and it’s what allows me to keep that sense of direction even up to today.” Simon goes on to explain that since they met, and he has now had his first solo exhibition, he has been painting more than before, and Catherine also pushes him in that direction.
Does the art world provide the free time and flexibility parents need so frequently?
This question seems to hit right home! Catherine affirms: “It’s the other way around actually. No. Parenting does not provide you with the freedom and flexibility you need as an artist. It is not conducive to painting at all. However, the whole experience of parenting is worth every minute! And with the help of family and friends we still manage to get a lot done.”
Has your relationship built an even more solid foundation for your artistic talents to blossom?
“Definitely yes!” they both look at each other and confirm. “We have been married for 5 years, and we met some 8 years ago. Being with someone who loves the same thing, and has art as a main life focus is great – we even travel to see different exhibitions together!” Catherine describes how they visited Paris for seven days and spent every single day visiting one gallery after another while Simon remembers time spent together visiting Picasso’s house.
Village girls in Udaipur by Catherine Cavallo
What happens if one of you goes through a creatively dry spell? Is it even harder psychologically to see your partner painting profusely?
Simon: “Actually during a dry period it helps if you see the other person working – it motivates you to get things going again!” Catherine agrees totally: “Before I met Simon I always painted professionally, however if something upset me I’d stop, and then start again after a period of time. Simon has been my stabilising factor – once we met everything fell into place, and now I paint without ever really taking a break.”
You have totally different artistic styles. Have these changed in any way or influenced each other since your parallel journey in life took off?
“Not particularly.” Simon says: “Catherine’s work is more figurative and it has inspired me in different ways”. Catherine confirms: “We also did a few out-door paintings together, which was a first. Don’t forget I had been painting for a longer time than Simon when we met.”
Which techniques and mediums do you each prefer to use?
Catherine says: “Definitely oils. I trained as an oil painter, although I do use other mediums from time to time. You have to find what you love. I do things in acrylic, charcoal, ink and also watercolours, but I use predominantly oil paints. My technique is the palette knife, in order to draw emphasis away from too much detail. I enjoy taking commissions – painting is my livelihood so if someone asks for a commission I usually say yes. In the past I found them a bit more difficult to do since it is somebody else’s choice of subject matter, but now I really enjoy them. Portraits I really enjoy and love to do – they are the biggest challenge you can have and there is nothing better than a good challenge”. Simon agrees: “With regards technique and mediums I have tried everything and yet my favourites are oils because they are so versatile. They are the most versatile of all mediums. However I have also been experimenting. For example in my work called “Clay Slopes” I included crushed glass and sand to bring out the different textures. Still life is my discipline. I like abstracting my work and using things around me which look abstract but aren’t. And I also enjoy adding a figurative element.”
Simon: “Actually during a dry period it helps if you see the other person working – it motivates you to get things going again!” Catherine agrees totally: “Before I met Simon I always painted professionally, however if something upset me I’d stop, and then start again after a period of time. Simon has been my stabilising factor – once we met everything fell into place, and now I paint without ever really taking a break.”
You have totally different artistic styles. Have these changed in any way or influenced each other since your parallel journey in life took off?
“Not particularly.” Simon says: “Catherine’s work is more figurative and it has inspired me in different ways”. Catherine confirms: “We also did a few out-door paintings together, which was a first. Don’t forget I had been painting for a longer time than Simon when we met.”
Which techniques and mediums do you each prefer to use?
Catherine says: “Definitely oils. I trained as an oil painter, although I do use other mediums from time to time. You have to find what you love. I do things in acrylic, charcoal, ink and also watercolours, but I use predominantly oil paints. My technique is the palette knife, in order to draw emphasis away from too much detail. I enjoy taking commissions – painting is my livelihood so if someone asks for a commission I usually say yes. In the past I found them a bit more difficult to do since it is somebody else’s choice of subject matter, but now I really enjoy them. Portraits I really enjoy and love to do – they are the biggest challenge you can have and there is nothing better than a good challenge”. Simon agrees: “With regards technique and mediums I have tried everything and yet my favourites are oils because they are so versatile. They are the most versatile of all mediums. However I have also been experimenting. For example in my work called “Clay Slopes” I included crushed glass and sand to bring out the different textures. Still life is my discipline. I like abstracting my work and using things around me which look abstract but aren’t. And I also enjoy adding a figurative element.”
Simon and Son
Do you utilise separate art studios to function at your best?
“No we use the same art studio. We have one big one for both of us”, Simon says. “There’s nothing better than a shared art studio” Catherine pipes in. At first I think this is a surprising statement, but when I am invited to have a look around their studio towards the end of my visit, I get a taste of what she means. The room with all their different works displayed instantly appears to be a mutually inspiring space, adding another shared dimension to their loving family home. Apparently Simon loves the fact that outside their art studio there is a large natural area, which he takes pride in looking after and cleaning up after the occasional summer picnic held by unknown visitors. Simon seems to have green fingers and is into indigenous trees, organic vegetables and making his own “julep” - the traditional carob juice with healing properties.
Have your travels to India changed your creative output substantively? Do such trips feed you with new ideas?
“Absolutely!” Catherine is definite. “We went to India specifically because we knew it would be a country, which would be really inspiring. We arrived there armed with papers, pencils and paints and travelled from Delhi and Agra to Jaipur, Udaipur and eventually Bombay and the southernmost beaches in Goa, bordering with Kerala. We lived in a house rented by a friend and fellow artist, and we met up with a whole bunch of Maltese travellers who are still good friends of ours today.”
I take a look behind me and see a stunning work of Catherine’s depicting a group of beautiful young female beggars walking the streets of Udaipur. The central figure and eldest sister is holding a silver bowl. Their expressions are so alive I can actually tell which ones must be related to each other! For a few seconds I am transported back to the Indian streets I love so much. Later Simon shows me a slideshow of some of his own evocative Indian women, still-lives, and elegant white lilies as well as a number of captivating abstracts. His scenes of Malta leave me spellbound. Catherine also has a series of large paintings depicting pink pond lilies she came across in Goa. It seems their honeymoon trip to India in 2001 had a huge impact on them both.
Are you collaborating with any other artists or galleries at the moment?
“I have participated in a number of collectives in the past, as well as the Biennale in Paris, and I had my first one-man show last September 2005 at Galleria G, that ran for six weeks.” Simon explains. “Catherine's last exhibition on the other hand was held in November 2004 at St James Cavalier’s Centre for Creativity, spread through the four upper galleries with four different themes mainly: Nature, Malta, India and works in pencil and mixed medium.”
And can we look forward to any new exhibitions in 2006?
"It is quite a coincidence that you chose to interview us together actually, since we shall be putting up our first joint exhibition next November".
“No we use the same art studio. We have one big one for both of us”, Simon says. “There’s nothing better than a shared art studio” Catherine pipes in. At first I think this is a surprising statement, but when I am invited to have a look around their studio towards the end of my visit, I get a taste of what she means. The room with all their different works displayed instantly appears to be a mutually inspiring space, adding another shared dimension to their loving family home. Apparently Simon loves the fact that outside their art studio there is a large natural area, which he takes pride in looking after and cleaning up after the occasional summer picnic held by unknown visitors. Simon seems to have green fingers and is into indigenous trees, organic vegetables and making his own “julep” - the traditional carob juice with healing properties.
Have your travels to India changed your creative output substantively? Do such trips feed you with new ideas?
“Absolutely!” Catherine is definite. “We went to India specifically because we knew it would be a country, which would be really inspiring. We arrived there armed with papers, pencils and paints and travelled from Delhi and Agra to Jaipur, Udaipur and eventually Bombay and the southernmost beaches in Goa, bordering with Kerala. We lived in a house rented by a friend and fellow artist, and we met up with a whole bunch of Maltese travellers who are still good friends of ours today.”
I take a look behind me and see a stunning work of Catherine’s depicting a group of beautiful young female beggars walking the streets of Udaipur. The central figure and eldest sister is holding a silver bowl. Their expressions are so alive I can actually tell which ones must be related to each other! For a few seconds I am transported back to the Indian streets I love so much. Later Simon shows me a slideshow of some of his own evocative Indian women, still-lives, and elegant white lilies as well as a number of captivating abstracts. His scenes of Malta leave me spellbound. Catherine also has a series of large paintings depicting pink pond lilies she came across in Goa. It seems their honeymoon trip to India in 2001 had a huge impact on them both.
Are you collaborating with any other artists or galleries at the moment?
“I have participated in a number of collectives in the past, as well as the Biennale in Paris, and I had my first one-man show last September 2005 at Galleria G, that ran for six weeks.” Simon explains. “Catherine's last exhibition on the other hand was held in November 2004 at St James Cavalier’s Centre for Creativity, spread through the four upper galleries with four different themes mainly: Nature, Malta, India and works in pencil and mixed medium.”
And can we look forward to any new exhibitions in 2006?
"It is quite a coincidence that you chose to interview us together actually, since we shall be putting up our first joint exhibition next November".