“I paint with something that I can discover. I purchase second-hand home paint and canvases from charity shops, and have by no means used a paintbrush. I discover extra freedom with unconventional instruments reminiscent of sticks, knives and damaged glass,” says Jack Coulter. With 69,000 Instagram followers and quite a few followers in excessive locations (he can depend Mumford & Sons, Jack Garratt and Keith Richards amongst those that already personal work or prints by him), the 24-year-old artist’s summary impressionist work have been enthralling individuals in all the appropriate locations.
We’re talking the week earlier than his collaboration with the London Chamber Orchestra, the place Coulter will paint dwell through a video hyperlink in response to a violin concerto by Mendelssohn. It’s the primary collaboration of this nature – and his first time portray to a dwell orchestra.
This isn’t simply any artist being requested alongside for the trip. Jack Coulter has synaesthesia: a uncommon sensory, neurological situation that not solely shapes his work, but in addition the way in which he experiences day by day life. It means he has a charged relationship with music, particularly.
“It is all the time been tough for me, explaining to individuals my particular case of synaesthesia, as I can hardly perceive it myself,” Coulter says, when quizzed on the specifics. “The intertwining phase of tetrachromacy leaves me experiencing altering colors of precise issues. Like, if I am taking a look at one thing even with out sound, my color spectrum shifts. A leaf can flip into shimmering gold, the roses in a area can change to violet then yellow, then arrive again at pink. On high of this, I’ve sounds resonating colors… They pulsate in entrance of my eyes in response to the particular sounds I hear, then nonetheless linger on my iris.”
Artwork, for Coulter, is a approach of constructing sense of the stimuli round him. Born and raised in Belfast, in a household the place artwork was ever-present (the household residence’s partitions have been coated in work, whereas his aunt Christine – additionally an summary printmaker – mentored him by means of his first forays into portray), he says that making his mark on the canvas helped fill a way of vacancy he’d skilled since childhood. As an grownup, he’s already labored with organisations starting from GQ to Glastonbury, and is at the moment engaged on a number of album covers – although he’s tight-lipped on for whom.
Coulter’s approach of seeing the world – and seeing sound – makes the prospect of his night with the orchestra thrilling for all concerned. I ask him how he’s been making ready. Alongside listening to his favorite nineteenth century classical compositions, he’s been considering loads about the perfect supplies for the job. “I am ensuring to make use of a variety of liquid flowing paints, family silks, gloss, as I do know the piece I am going to create shall be fairly an aggressive one. I actually wish to seize the tenacity inside every second, then decelerate my actions within the extra subdued sections of the compositions.”
And what about nerves? Certainly it’s a reasonably daunting prospect, portray in entrance of probably as much as a thousand individuals – to not point out those that select to tune in to the livestream on-line? “I am nervous as a result of it is dwell,” he muses. “There’s additionally strain on me to create work which does The London Orchestra justice. Other than this, I do know the work shall be stunning. Even simply desirous about every encompassing factor of the efficiency stimulates me.” Later, he provides that’s planning to deal with it similar to every other portray session in his storage at residence in Northern Eire.
What precisely occurs in that hole between what he hears, and what he paints? “Every part is computerized when music is enjoying and I’ve an empty canvas. It is fluent. My eyes, arms, arms, whole physique at instances simply react to the composition or sound. It is such a frantic but serene course of,” he explains. “The altering colors burn in entrance of my eyes all over the place in response to the music, then I attain for the closest color paint I can discover that matches what I see.”
I take into consideration his feedback once more per week later, whereas watching him paint dwell in London’s Cadogan Corridor. Mendelssohn’s music is reworked into deft splashes of color earlier than our eyes on the video hyperlink – Coulter sequestered in a close-by room arrange for him, full with plastic sheeting prepared for the inevitable explosion of paint. Coulter’s canvas is on the ground. He strikes round it decisively in his paint-encrusted boots, smearing and splattering yellows, pinks, reds, blues, greens, and sprays of white. Slowly, layers and patterns construct up, crowding in on each other. Every now and then he pauses, wiping his arms on his black denims or sorting by means of his paint pots, earlier than the method continues. Whereas the conductor and performers command the stage, Coulter supplies one other sort of drama – an enormous display screen hanging above the orchestra displaying his work in progress. The mixture is mesmerizing.
Within the aftermath, I ponder how he’s feeling. He sends me a giddy DM on Instagram simply earlier than midnight. “It was surreal… Everybody stored saying to me that it regarded like an… exhausting course of, but that was the one time of the entire night I felt really at residence.”