A conversation between Kathleen Soriano, Director of Exhibitions at the Royal Academy of Arts and Jock Mooney.

KS: You’re creating an installation in the space, is that something you always planned to do?

JM: The trestles are from a past work and they are being formed into a music video. It is now becoming more of a landscape piece. Not being happy with the sculpture just staying static, experimentation became key to changing its layout. It was part of a plan, but the only problem was that it bore resemblance to a past work; it could be made to look ‘nice’. But I think I just wanted to have a piece of work that I didn’t have full control over. I admire Mia’s work in that very few marks are used to make a final piece and she has the confidence to hold back. I have a problem of not knowing when work is finished and being able to walk away. The confidence to make work and be happy with the result has become easier in this space. The element of distraction is key to creating quick works, either with music or talking to someone on the phone; doodles can become works but can never be created while under full concentration.

KS: It’s interesting that you’re questioning what you produce and what your work is in this gallery. 

JM: I usually work from home in a spare room. Some works just end up being framed to protect them. In this space it’s more open to be able to explore finished works.

KS: Have a lot of people talked to you while working?

JM: Some people are quite timid as you would expect, and it’s nice to see people working themselves up to come over and talk. It’s what’s so enjoyable about working in a public gallery. Using bright colours the work tends to engage a broad range of people. 

KS: Do you feel a sense of constant judging by the public?

JM: Definitely. There are a couple of drawings that I did while feeling quite frustrated over the small scale drawings. After 45 minutes I produced a tree on a large roll of paper that was embarrassing enough to be scrunched up and thrown away. After some discussion with Sarah [Williams] later the tree was brought back as part of showing the public all the work – whether or not it is deemed good. It can feel like that the public are cheated if the artist constantly vets his own work especially in this type of exhibition.

KS: What about performance, do you feel as if you have crossed a line? 

JM: I’ve done more controlled performances in the past. The raised floor could be deemed as a stage, and pouring the paint over models in a dramatic fashion when some music is playing could be interpreted as a performance piece. The experience has been surreal overall.

KS: Do you think the actual physical gallery space has changed your work?

JM: It’s nice to have so much space and its good to develop work in what is a nice white cube gallery. It changes the perspective and allows room for more experimentation. It’s interesting from a commercial aspect and the release from having that obligation, which may potentially compromise my creativity. 

KS: Do you feel a sense of peer pressure? 

JM: Yes, I did initially feel the pressure to have finished work on display, but now I’ve completely relaxed into it.

KS: Have you found the questioning helpful? 

JM: Talking to someone else about my work has definitely helped me liven-up and let go of self-questioning – freeing me up to make new work.