Alan James Weiss was born in the “Copper Belt” in south-central Africa in the town of Kitwe, Zambia. Whilst shaping a successful career in architecture and retail design, his passion for painting has continued since childhood. His ever-impressive style is not limited, and although his paintings are realistic and representative in nature, Alan has a skillful agility to produce expressionistic work as the mood suits. His subject matter is not limited, although wildlife has been a focus and the dominant theme throughout his life, influenced by his upbringing in central and southern Africa. As Alan collaborates with Occhi on his second exhibition, titled ‘Transition’, we caught up to discuss the show and direction of his practice.
Alan, thank you for agreeing to catch up with Occhi. For readers unfamiliar with your background, what drew you to the art of painting?
I was obsessively interested in drawing from as far back as I can remember and sketched my way through classes during my school years (mostly renditions of comic book characters from Andy Cap to Batman). Art class, or even technical drawing, was not available when I was at school. My earliest recollections of serious art, (from a school library book), were of paintings such as the Arnolfini Portrait by Jan van Eyck (spending hours studying the curved mirror and brass chandelier), & the Female Nude by Modigliani (hormonal probably). The technical brilliance of van Eyck & Vermeer was fascinating to me, and I also fell in love with Rembrandt’s mastery and storytelling. After dabbling with watercolors & acrylics I progressed to oils at a relatively young age of 14 years and have stuck with this medium ever since.
Born on the “Copper Belt” in south-central Africa in the town of Kitwe, Zambia, you’ve relocated many times and traveled extensively across Southern Africa. Please tell us more about your experiences and how they have influenced your life and artwork.
I am extremely proud of having been fortunate enough to be born in Africa, and to have had the opportunity to travel and work here. I consider myself to be more of an African than a naturalized South African. As a continent, notwithstanding its trials & tribulations, it is vibrant, rich, and raw, and still struggling to find its own feet. Africa’s connection to its incredible range of wildlife is deep and transcendent, and this has been a focus of my art for the longest time.
My studio is also filled with landscapes, however, I believe that it is Africa’s humanity that will shape my artistic endeavors going forward. Creating a narrative work that not only has current relevancy but may also be considered a timeless eternal image, is a goal to be achieved I feel.
You’re exhibiting your second show with Occhi, Can you explain the origins of each exhibit, your methodology in creating work, and your choice of mediums? (Please provide the exhibition title and information on the origins of the show, choice, and direction of your work)
Wherever possible I am constantly looking to create images with something to say, and I believe that my work is not complete until it resonates with the viewer and evokes an emotional response. Neither hyperrealism nor abstraction interests me, although I can appreciate both methodologies.
My choice of mediums alternates as I continue to experiment, and I do not place too much emphasis on specific materials or processes. Remember, if earth and oil (or the remains of burnt wood), can be utilized to make a mark that is meaningful, then that is good enough in my book.
My medium of choice is oil paint (Sennelier, Gamblin, or W&N – not fussy), mixed with a combination of thinners & linseed oil and occasionally Liquin to follow the basic fat over lean rule.
A brief description of each submitted artwork is as follows:
Field of Dreams: I wanted this painting to be a thought-provoking piece that speaks to the deeper aspects of the human condition. I wish for viewers to engage with this old man’s journey and contemplate the relationship between the human experience and the natural world. The melding of the man’s head into the landscape may evoke a sense of unity or dissolution, prompting the viewer to reflect on the transient nature of existence and the interconnectedness of all things.
Nightwatch: This is a contemplative animal portrait, a peacock surveying an evening landscape.
The portrait is meant to be timeless, & thought-provoking, and is rendered in the Old Masters style, with muted desaturated colors.
Tribe: “Tribe” is a portrait of an African tribal man. Inspired by the rich cultural heritage and traditions of African tribes, this artwork serves as a visual celebration of identity, belonging, and ancestral connections.
The use of vibrant blue tones on the skin and necklace beads draws attention to the symbolic significance of cultural heritage. It symbolizes a sense of pride, resilience, and the continuity of traditions that have been passed down through generations.
Ultimately, “Tribe” is an invitation for viewers to explore the intricate layers of African tribal cultures, fostering a deeper understanding and appreciation for the diverse expressions of humanity.
Dreams Deferred: “Dreams Deferred” is a figurative oil painting that depicts a poignant portrayal of a group of disenfranchised young men. The artwork weaves elements of realism and expressionism, capturing the raw emotions and struggles faced by these individuals. The muted tones employed throughout the painting serve as a visual representation of the prevailing sense of hopelessness and hardship experienced by the subjects.
The expressionistic elements in the painting further emphasize the emotional turmoil and resilience of these young men, inviting viewers to reflect on the potential consequences of dreams unfulfilled.
This work is meant to stir emotions and inspire dialogue about the importance of providing support, opportunities, and compassion to those facing hardship and adversity.
Factory: This figurative oil painting captures a compelling scene of working factory women posing during a break. Through a blend of realism and expressionism, this artwork offers a poignant portrayal of their lives, reflecting the raw emotions and challenges they face and conveying their feelings of hopelessness and struggle. The inspiration behind this work arises from a desire to shed light on the often-overlooked lives of working-class women and their experiences within industrial settings. It explores their resilience and the hardships they endure while laboring in demanding environments. “Factory” prompts viewers to reflect on societal dynamics, gender roles, and the realities of labor in industrial contexts and serves as a reminder of the strength and resilience exhibited by these women in the face of adversity.
Road to Nowhere: “Road to Nowhere” is a large oil painting capturing a rural landscape in the Klein Karoo in South Africa.
The inspiration behind this work is drawn from a personal connection to the Klein Karoo and its rugged beauty. It showcases the vast open spaces and big skies. This work invites viewers to ponder the concept of journeys and destinations, reflecting on the existential questions and the sense of introspection that often arises in such landscapes.
The muted tones serve to enhance the feeling of aridity and the unique atmosphere of the region, creating a sense of tranquility and introspection.
Peacock Blue: This painting is rendered in a realistic and romantic style. The intricate details bring this majestic bird to life, and I wanted to showcase its vibrant plumage and regal presence. The subtle blue and green tones add depth and a sense of ethereal beauty to the composition.
This bird portrait symbolizes its association with beauty, grace, and pride, and the baroque background, with its ornate frame, adds a touch of opulence and a nod to classical artistry.
Through this painting, I hope to evoke a sense of awe, wonder, and a connection with the inherent beauty of nature and I invite you to embrace the innate beauty that exists in the world around us.
Etosha: This painting is based on my love and respect for wildlife.
I hope that the viewer experiences the vastness and rugged nature of Africa, and the dogged pursuit of survival in an unforgiving environment.
Oils are my medium of choice, with pigments obtained from the earth reflected in this painting.
Simonsberg: This painting represents a view towards the Simonsberg Nature Reserve on the Stellenbosch wine route – as viewed from the Hottentots Holland Catchment Area, Western Cape, South Africa. It is a scene that I have visited often over the years, spending time sampling the magnificent wines of this region.
Juniper: I have a fascination with trees, particularly with their struggle to survive in harsh environments and by the sheer tenacity of nature to hold onto life and bend to the elements to survive. The style is meant to express the character of this Juniper tree.
Old Man River: This Plein Air oil painting depicts a hazy late afternoon landscape and I hope it evokes a sense of nostalgia, tranquility, and contemplation. The hazy atmosphere and the soft, warm light of the late afternoon create a serene and dreamlike ambiance. To me, this scene represents the cycle of life and death, where even in decay, beauty and harmony can be found. The stream, symbolizing renewal and the continuity of life, serves as a contrast to the stillness of the old tree.
Wood Urn: “Wood Urn” is a still-life oil painting featuring a classic wooden urn as the subject. This artwork blends elements of realism and expressionism, accentuating the natural wood texture, and is a homage to the allure of traditional craftsmanship.
Blaze: The inspiration behind this work stems from my fascination with the resilience and beauty found in arid environments.
The windblown tree stands as a symbol of strength and adaptability, gracefully enduring harsh desert elements.
The choice of subject matter highlights the dichotomy between the fragile nature of vegetation and the barrenness of the desert and invites viewers to reflect on the power of nature and the resilience of life.
Perhaps a difficult question, but is there a particular piece you’re most proud of, and why?
Although I am proud of all my paintings “Factory” represents a significant new direction for me. To capture raw emotion in portraiture is challenging and I have a lot to learn. I feel that the playing field is opening up in front of me, and I am excited for the future.
Having also worked in architecture and construction, I’ve had several conversations over the years with practices on how their collaborations with artists, from various disciplines benefit their practice and help create therapeutic, social, and sustainable environments, particularly with regard to building schools, hospitals, and public spaces. To what extent does your training in both fields impact and influence your architectural practice?
My work in this field has come to an end as I transition to focus on painting full-time. It has been my experience however that architecture and the design of public spaces in general can be transformed by the way in which art is used within them. This can result in a fusion that creates spaces that are awe-inspiring or spiritually uplifting. They do say that Art in Architecture is the ultimate aesthetic.
As a successful artist, what would you say are your three strongest attributes?
First and foremost is the ability and willingness to commit yourself to the work…and its completion. Conscientiousness is required. Second I would say the drive to truly understand your craft, to research, and to acquire all of the divergent skills necessary to be a competent and capable artist – without these basics in place, it is difficult to achieve success. Last, but not least, have confidence and belief in your own abilities and talent, listen to the advice you will surely be given but retain faith in your own vision.
What projects are you currently working on?
I am currently busy with the early stages of a large allegorical painting of the African condition, I hope that I can do it justice and can adequately convey its symbolism, without explanation.
For further information on the artist and exhibition visit
https://www.occhicontemporary.art/
https://www.occhicontemporary.art/transitionalanjamesweiss
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