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[title]With vicious humour and big, bold aesthetics, Olivia Sterling brutally lampoons contemporary ideas of race and representation in modern Britain. Bodies get fed through meat grinders, hands drip with melting ice cream, bums are smeared with sunscreen, skin tones are codified and ethical lines are crossed. Gory, funny and brilliantly painted, it’s like a classic cartoon dragged kicking and screaming into the present day, and you never know whether to laugh or cry.
What would you say your art is about?
‘My work is often about food, relating food and people together, commenting on the different ways people are seen as consumable. It is also about comedy, how fundamentally comedy is about normal things turned odd or odd things turned normal and that’s something I aim to do in my painting.’
What inspires you?
‘In terms of people, I return to Francis Bacon and Philip Guston all the time, obviously Lubania Himid as well. I love Cheyenne Julien, Sasha Gordon and Brianna Rose Brooks as well – wonderful figure painters, also currently really into Jack Smith, John Bratby. I stare at a lot of pictures of food as well, mostly stills from films. I also wouldn’t be the artist I am today if I hadn’t spent too much time inside as a child watching 50s cell animation cartoons – Tom and Jerry and Silly Symphonies. I’m also extremely motivated by revenge.’
What are the challenges of being an artist in London?
‘Obviously, the main challenge is living in London and how expensive it is to just live, let alone make artwork. Additionally, there are so many artists here and you're seeing people’s work all the time, it creates a cocktail of self-doubt, imposter syndrome and career comparing – even though no one has the same career journey. So, you may be ready to work physically but not mentally which is always fun.’
What one thing could be done to better support young artists in London ?
‘More sliding scale studios – making an effort to make studios more accessible.’
What would you do with the Turbine Hall?
‘Big free food party. Big amounts of free food for all. I’d be there.’
Alex Petalas, founder of The Perimeter says:
‘I am particularly drawn to Sterling’s ability to highlight ideas of systemic racism and subtle acts of violence with a unique humouristic touch and “poppy” style of painting. She incorporates slapstick imagery of sweets, cakes and voluptuous bodies, which do not immediately reveal this underlying tension making it all the more exciting to discover her work.’
This interview is part of Time Out’s The Future of London Art series. Read more here.