Donny O'Rourke, an
'aesthetic glutton', tells
Clare Henry what first
made him bite
I believe firmly in the
free pleasure of art. It's
available to anyone via
galleries and books
DONNY O'Rourke bought his first picture in 1983 with his very first
pay cheque. ''I was working in London as chairman of the British Youth
Council and on a brief visit home saw Peter Howson's lithograph, Four
Scottish Scenes, at Corners, the framers in Gibson Street. It appealed
to me instantly. I didn't think I could afford it, but it was only #35.
In the end I bought three prints and got a discount.''
The other two were Howson's Man with Cigarette and The Lovers by
Dominic Snyder. All three pictures hung in his London flat while
O'Rourke worked at the BBC and still hold pride of place in Glasgow,
where he is now head of arts for Scottish Television.
O'Rourke has continued to buy difficult, challenging work by young
Scottish artists. ''I was never interested in putting pretty things on
my walls. I hate art as decor; art as a commodity. All my pictures have
meant something. In the Renaissance scholars kept a skull on their desks
as a reminder of mortality; a memento mori. Howson's picture is my
memento mori. It poses questions much bigger than anything that happens
in my living room.''
In 1983 Howson was at the start of his career and little known.
O'Rourke, like most, had never heard of him, ''although I was aware of
some artistic stirrings from reading your Herald column. I was drawn to
Howson by his exceptional draughtsmanship, of course -- but it was more
than that. Howson's Four Scenes said something all too true about the
Scots and encapsulated everything I felt about the place.
''It was four years into the Thatcher government and I was angry about
the way politics were going. I was feeling very Scottish -- and a bit
homesick. The print shows a crushed, compressed little world full of
dour, doomed people, drunks, thugs, and push-button sex. Hope is
available but has to be identified and seized. The composition has a
split screen quality reminding me of cinema and film. Its green and
orange colours are symbolic of a divided Glasgow. The airplane flying
across the top corner, an image both of escape and yearning, hints at
the Scots destiny as emigrants. It was perfect.''
On his return to Scotland O'Rourke's work at STV soon put him in touch
with artists. ''It was just the time when substantial figures like Ken
Currie were making their mark. Many were about my own age and their work
was affordable. Most of my pictures have personal connections. Many are
celebrations and mementoes of friends.''
Friends like Peter Nardini, Gwyneth Leach, Fred Crayk, and Douglas
Thomson, then tutor, whom he met when he enrolled in art evening classes
at Woodside. (''I was very keen but knowing artists has stopped me
drawing. I realised what a gulf there was between my talent and
theirs!'') O'Rourke asked Synder and Leach to illustrate his first book
of poems, Second Cities, published in 1991.
O'Rourke maintains he's not really a collector. ''I prefer the company
of any painter to any painting.'' He's quick to reject an acquisitive
motive. ''It's about proximity, not ownership. I've never spent a lot.
It's not a status symbol. I believe firmly in the free pleasure of art.
It's available to anyone via art galleries and books.''
And even TV. Since O'Rourke became producer of Scottish Television's
arts slot, NB, in 1989 he's featured 100 painters and sculptors. ''The
first important segment we did was on East Campbell Street studios in
1990. NB was a breakthrough because it got painters into people's living
room.''
In 1990 O'Rourke went to New York with some artists exhibiting at the
Mary Ryan Gallery. They included Neil MacPherson who painted his
portrait, D. O'R at the Riverside Cafe, Brooklyn. ''A riotous time was
had by all -- and having seen the poor standard of American work, I came
back with renewed energy, determined to do more to spread the word in
Scotland as to just how good our artists are.''
He sees his TV outlook as in some respects very painterly. ''I spend a
lot of time looking through a camera or at a screen but I don't like
things rendered in too straightforward a way. Photography can be a
lulling, gulling medium. I like a degree of distortion and
re-interpretation; the extra dimension.''
HE IS catholic in his tastes. ''All kinds of art are welcome in my
house and on my programme. In a fully grown Scotland we are beyond the
tyranny of either/or; we don't have to choose between representation and
abstraction, figuration or conceptualism. We can have it all.''
So far O'Rourke's collection also includes pictures by John Taylor,
Bet Low, Jim Tweedie, William Crosbie, Gary Anderson, and Keith
McIntyre. McIntyre's Winged Head is a reminder of their 1991
collaboration on the Lockerbie Requiem. ''McIntyre rang on a frantic day
but he was so persuasive that I reorganised my schedule and went to see
him. Somehow I got the money to get the programme made. I found the
whole thing incredibly moving.''
Much of O'Rourke's poetry is about painting and several of his
pictures, like Tweedie's Poet Muse, Crosbie's study for Sorley Maclean's
Songs for Emma, Alasdair Gray's self-portrait and Ian Hamilton Finlay's
Blue Sail, also relate to poetry. But despite his passion for poetry (he
has compiled an Anthology of Young Scottish Poetry for Polygon),
O'Rourke, a self-confessed ''aesthetic glutton'', believes that painting
is usually the clearest indicator of how a culture is doing.
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