Deciding where to begin when interviewing an artist with a practice as extensive as Terry Buchanan’s is no easy task. This may be because Terry has stories that are guaranteed to enthral any art enthusiast (Bridget Riley told him this, in her studio) or maybe it’s because the more you get to know about Terry and his work, the more evident it is that his memories and his work are so intertwined. Everything connects, his printmaking and the vivid memories of his wartime childhood, the importance of imagination to him both then and now, his time as a photographer in photojournalism and recording historic buildings and its impact on his painting, it’s all circular. 

Terry Buchanan was born in London’s East End and showed a keen interest in art from an early age. At sixteen he was employed by the local council as an architectural draughtsman with the proposal to study for an RIBA qualification, but National Service intervened. After his time in the military, Terry’s work as a photographer brought him into the studios of some of Britain’s most renowned artists of the 20th century. Documenting the studios of Michael Rothenstein, Bridget Riley, Elisabeth Frink, Terry Frost, Ken Howard and many more, he perfectly captured the magic behind some of the country’s most beloved works of art. 

Terry’s print work is as wondrous as his stories, capturing colourful characters, biographical anecdotes and beautiful compositions. With a deep understanding of the impact that perspective has on a piece, there is an almost photographic quality to his work and with it he invites the viewer to think about the intent of the artist. Whether we’re confronted with a striking portrait, or peering at a performer from the top seats of a theatre balcony, the perspective is always purposeful, and it’s prevalent throughout every piece. And that, my friends, is the enchantment of a photographer turned printmaker.

We’re well aware of how lucky we are to have Terry’s work here in the studio, and it’s been wonderful to chat to the artist about his artistic influences and experience. It’s a good read, enjoy!

What first inspired you to start printmaking? 

When I first visited the studio of Hilary Paynter she showed me her work and the press. There was a certain element of linear drawing which interested me because I had started drawing from a very young age. On a later studio visit I met Michael Rothenstein and there was a free expression in his prints together with much colour. He wanted to know about my photography and I about his printmaking, we had a long discussion the result of which was courses at the Porthmeor Print Workshop in St Ives and then at Bath College. 

Who has been your biggest artistic influence?

Bridget Riley initially, because having been an architectural draughtsman in my first employment aged sixteen I was attracted to the hard edged linear pattern in her work. I spent some time in her studio at Tower Hamlets because the East End of London was my home area. At one point she changed her style slightly and even asked my opinion on that work. 

Do you have a favourite art movement?

I am eclectic in my approach to the work I do, from watercolour illustration to the oil and acrylic on canvas. I prefer abstraction because it is more to do with imagination than visual observation. It is created in the mind rather than with the tip of the brush. 

In what way has your professional photography work influenced your painting and  printmaking? 

My work as a photographer in both the Army and with the Royal Commission has meant producing thousands of photographs and meeting an equal number of people. Seeing those people in different areas of society and work gives the impression that those people are an extension of the work and as such they are a very important influence on what you do. 

You’ve met and worked with many prominent artists of the 20th century, were there any that made a lasting impression? 

The fascinating thing was that each one was different from each other but an equal impression was their friendship to me and the importance of art in their daily life. Each one I approached sent me an agreement to enable the photography of their studio. They complied with my request that I wanted to show the studio as a working environment and so, at the end of a working session they should just walk away and leave it as it was and I would touch nothing. A few have left a lasting memory. Ken Howard, Bridget Riley, Eduardo Paolozzi and Terry Frost because he gave me an account of his history and development of his art style. Also, I had a large piece of cake that his wife had just baked. 

Do you have a favourite gallery or museum? 

My role as a Government photographer gave me direct contact with the photographer in art galleries. I had the freedom to see the artwork that was not on public display and even hold a painting that had been done by an internationally famous artist. The Tate Gallery was just a walking distance from our London office and I was a frequent visitor. Both the National Gallery and the National Portrait Gallery photographers welcomed me. Pamela Chandler was a prominent society photographer and a frequent visitor to my photographic section. She gave me a book, Private View, photographs of many famous artists. The book had originally been given to her by Lord Snowdon. I was invited to be interviewed live on radio programmes and to give lectures, even once being flown to an event where I lectured to a very large audience. To divert, I was associated with the photographers at the Scene of Crime Section within the Metropolitan Police in London and the Superintending Chief Photographer propped me for the Fellowship of the British Institute of Professional Photographers. 

What advice would you give to aspiring artists? 

Realise your freedom of expression, the creative ideas within you are part of you and so are yours to bring forward. You do not need to obey rigid rules on the creation of a work, just do it your way. 

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