Exploring Artistic Depth: A Conversation with Ross Muir
August 8, 2024

Exploring Artistic Depth: A Conversation with Ross Muir

In this insightful interview, Artistic Director, Maeve Doyle sits down with Ross Muir, a self-taught artist from Glasgow known for his bold and disruptive works. 


 

With his third show at Maddox Gallery already underway, Muir delves into the inspirations behind his pieces, the influences of legendary figures like Muhammad Ali and Jean Michel Basquiat, and the creative process that fuels his artistry. Join us as we explore the musicality, depth, and personal reflections that shape Ross Muir's compelling body of work.

Maeve Doyle: Hi Ross, how would you describe who you are and what you do?

Ross Muir: I'm a Glasgow-based artist and I'm entirely self-taught. My journey has been unconventional, but it's brought me to where I am today. I constantly strive to stay grounded and to improve.

Maeve Doyle: This is your third show with Maddox Gallery. It is an homage, showing respect to artists who have gone before you. Can you tell us a little bit about who you are showing respect to and why?

Ross Muir: ‘Cactus Clay’ is an homage to Muhammad Ali. Jean Michel Basquiat and Ali both stepped into the ring to challenge their opponents. Both men fearlessly confronted pervasive social and racial prejudices; they had, literally and figuratively, fought their way to fame and success. They shared an affinity as black men navigating everyday life in a predominantly white society.

I deeply respect Basquiat's unique style and powerful messages, and my work seeks to honour his legacy, not to replicate it. My intention is to pay tribute to the artists who have inspired me while bringing my own voice and perspective to the conversation. I understand the importance of approaching this with sensitivity and awareness, recognising the cultural significance of their contributions.

There's a lot going on here, with double meanings throughout my work. These elements are not meant to sensationalise but to provoke thought and dialogue about the complex social issues we face. I don't like to impose a single interpretation; I want viewers to find their own meanings in the pieces and engage with the art on a personal level.

By drawing inspiration from Basquiat and Ali, I hope to foster a deeper appreciation for their impact and encourage discussions about the ongoing struggles and triumphs within our society.

Cactus Clay, 2024, Oil on canvas, 156 x 133 cm

Maeve Doyle: There is a musicality to this piece, ‘X-Press-O.’ It reveals and conceals simultaneously. Can you comment?

Ross Muir: It’s the visual equivalent of wrapping, concealing, and revealing. When I created ‘X-Press-O,’ I was inspired by the idea of fusing poetry into the visual arts. I've got my suitcase out, and I've thrown in a few things—elements like crowns, masks, and coffee pots. These objects symbolise different facets of identity and daily life, each with its own story to tell.

It’s like putting together a puzzle where every piece matters, gradually revealing the whole picture to the viewer.

For me, it’s exciting to see how these elements come together, revealing deeper meanings and inviting viewers to interpret them in their own way. It’s about creating a rich, textured experience that’s both deep and engaging.

X-Press-O, 2024, Acrylic, oil and 24 carat gold on canvas, 131 x 130 cm

Maeve Doyle: What is your studio practise like?

Ross Muir: Yeah, my studio practice is good. I’m quite sensitive, so it really depends on the day. Sometimes, it feels like a game, you know? I don’t always know the rules, but I get a spark, and then I’m up here all the time, just working on that energy. It’s a bit like putting on gloves, preparing for something intense. You know, it’s like having a crashing engine; there's always something happening, always moving.

There’s a bit of randomness to it, like when I think about the Beatles song, ‘Come Together.’ It’s got that line, 'one plus one plus three,' which resonates with me. It’s about bringing different elements together, and sometimes they don’t seem to make sense at first. But in the end, they come together to create something cohesive.

I like to keep it lively, almost like a competition, a casting countdown. I have different projects and ideas, and it’s about seeing which one takes shape first. It’s chaotic but exciting, and that’s what keeps me coming back to my studio every day.

In my studio, sometimes there’s music, maybe a podcast. It’s about finding the right balance, like not too much energy but just enough to keep things flowing. By the end, if it’s late at night, we’re trying to find the perfect end for the song, bringing it all together. Yeah, it’s that kind of vibe.

Maeve Doyle: Can you discuss the numbers on ‘King Ronnie’?

Ross Muir: Yeah. It all started with the points on the snooker table. Six points for black, five for blue, four for brown, three for green, two for yellow, and one for red. It’s like a re-creation of a snooker game, capturing the essence of it.

And then, there’s this element of destiny, like a desert alien, almost like Eminem’s ‘Lose Yourself’ with its high stakes and intensity. That’s where the feeling of an 'Italian win' comes in. The sequence 1-4-7-1 represents a perfect game, a maximum break without missing a shot. It's a nod to achieving something remarkable.

The number 23 is crucial here too, as he’s a triple crown champion 23 times. It signifies greatness and repeated success.

Then there’s this character, Gary Gulliards, who symbolises someone striving for excellence. The imagery of Lawrence at the far end, and Harry Barrier rolling out of the black, lifting his head to the spider – it’s all about overcoming obstacles and reaching for the next level. It’s like a bird spreading its wings, finding freedom.

In the end, it’s all about the texture and the layers within the piece. Each element, each number, adds to the depth and meaning, creating a rich tapestry that viewers can delve into.

 
 
Maeve Doyle: Looking ahead, what are your aspirations for the future of your art?

Ross Muir: I suppose, for me, it's all about continuing to push boundaries. I want to leave a mark. It's not just about the art, but the conversation it creates and the impact it has on those who experience it.


 

Maddox Gallery welcomes Ross Muir’s latest series at Berkeley Street, his own homage to Jean-Michel Basquiat's legacy. In his expressive brushstrokes and use of primary colours, we see Basquiat, but it is clearly Muir's own work. This exhibition is a bold turning point, showcasing a new dimension to his practice. Muir's pieces invite viewers to engage deeply and find personal meanings. Don’t miss the chance to explore Ross Muir's captivating new work at Maddox Berkeley Street Gallery. Exhibition closes on 31st August 2024.

Ross Muir, 19 July - 31 August 2024
Berkeley Street

Ross Muir

19 July - 31 August 2024
Maddox Gallery is pleased to welcome artist Ross Muir’s latest series, a compelling exploration of self that builds upon the legacy of Jean-Michel Basquiat. On view from 19 July to 31 August 2024, in London.
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