TRANSLATED BY 撰文 x BOWEN LI 李博文
IMAGE COURTESY BY 圖片提供 x DANNY ROLPH 丹尼·羅爾夫
British artist Danny Rolph excels in juggling his artistic practice, international exhibitions, teaching in numerous prestigious institutions, and family life. Always enthusiastic and impeccably friendly, Rolph is an artist of formidable determination who enjoys the uncertainty in his artistic creation, maintains a certain British privacy and at once a warm hospitality, and deals brilliantly with all aspects of life in and out of his cozy studio.
ART.ZIP: Our last interview was with Ben Johnson.
ART.ZIP: 我們剛剛採訪了本·約翰遜（Ben Johnson）。
DR: Funny – he was one of my tutors on foundation at Saint Martins in 1986!
ART.ZIP: And before he was not perfectly comfortable working with other people around.
DR: Does he feel too self-conscious?
ART.ZIP: Not really, we think he just prefer a quiet environment.
DR: Well, I always have music on and sometimes I dance! I’m often walking around looking up close at something or looking at the studio door, scratching my head, reading books, I have a lot of books in the studio and read all the time, so if you had a CCTV on me you would think I was a crazy animal going slowly out of its mind — dancing his way into oblivion!
ART.ZIP: But that’s the thing about private space, you can do whatever you want.
DR: It’s ridiculous isn’t it ? you find yourself cutting up things, doing mundane things, sweeping the floor but it is the privacy that matters. And it is a great place to start. For me, as a studio-based artist, I’m continuously making work. Lots of my artist friends, my contemporaries, who I grew up around may work towards one show at a time, but because I show internationally in different galleries I’m constantly working on many paintings and drawings, from which I can extract and create an exhibition out of. Lots of other artists work in a much more thematic way –- they make a body of work which they want to show together — I’m not really interested in that. I’m interested in a slightly more old fashioned model of say Picasso or Matisse, where what you did you then took from to put into a show. The narrative develops out of what you have chosen to show. So for me, it’s a very studio based activity and the core, the hub, is an extension of the eyes and the brain embedded in the space and this need for privacy is very important. I have a great assistant who comes in once a fortnight and there is always lots to be done, but she doesn’t help with any of the work. The studio is a very special place. Imagine in the 1920s or 30s pilots flying aeroplanes, how did they navigate? They were looking at the stars, if they were flying at night for example, and it’s almost like flying at night in here, but I have little interest in where I’m going, I’m more interested in what I am doing.