Umetnik
Rojen v Oldham, United Kingdom
A Life Immersed in Landscape and Inquiry
Born in Oldham, United Kingdom, in 1952, Alan Rankle has forged a career deeply rooted in the exploration of landscape—not merely as pictorial representation, but as a dynamic field where social consciousness, environmental concerns, and art historical inquiry converge. His journey began with formal training at Rochdale School of Art (1968-70) and Goldsmiths’, University of London (1970-73), an environment initially steeped in conceptual art practices. However, Rankle soon felt a compelling need to move beyond the purely intellectual, seeking a more visceral connection to his subject matter. This led him on a path of rigorous study, immersing himself in the techniques of 17th-century Dutch Masters—their mastery of light and texture—as well as the expressive power of Abstract Expressionism. Crucially, it was through an extended period of engagement with Ch'an (Zen) painters and calligraphers of China, from 1973 to 1976 under Dr. Liu Hsiu Chi, that Rankle discovered a profound philosophy informing his artistic vision—a focus on intuition, spontaneity, and the interconnectedness of all things. This period of Eastern study, shared with figures like musician Francis Monkman and author Fritjof Capra, proved formative, instilling in him a holistic approach to artmaking. His dedication to understanding materials and methods also led to studies and employment in art conservation, providing an intimate knowledge of the Old Masters’ techniques that would profoundly influence his own work.
From Performance to Politicized Landscapes
Rankle's early artistic explorations were notably diverse. His first exhibition in 1973 at the Institute of Contemporary Arts, London, was a multi-media performance/installation based on Chaucer’s The Pardoner’s Tale, demonstrating an early inclination towards narrative and conceptual frameworks. However, it was his evolving relationship with landscape that would become central to his practice. He began to view landscape not as a static genre but as a concept intrinsically linked to shifting human attitudes toward the environment—a “found object,” ripe for deconstruction and reimagining. This approach is characterized by a fusion of abstract, trompe l'oeil, and figurative imagery, reflecting Rankle’s belief that "styles are emblems of the ways we can shift our attention." A pivotal moment in his artistic development came following an exhibition with Andy Goldsworthy and Michael Jepson, which catalyzed a growing politicization of his work. This was dramatically underscored by a 1982 trip to Finland, where he witnessed firsthand the devastating effects of acid rain on the Scandinavian landscape.
Activism and Collaborative Visions
The experience in Finland sparked a series of impactful installation/performance pieces designed to raise awareness about environmental issues. These weren’t simply displays of artistic skill; they were acts of engagement, interventions intended to provoke dialogue and inspire action. Notable examples include a large-scale 30-meter scroll painting created on Beachy Head in Sussex with Jan Stephens, and collaborations with the artists' group Order Out of Chaos—most notably ‘Discarded Sculptures’ (1986), which brought his work to wider public attention. This commitment to environmental advocacy culminated in 1991 with Earthscape, an international competition/installation focused on environmental solutions that he curated, featuring contributions from artists like Andrew Bick and Luke Elwes. The project involved a broad network of collaborators, demonstrating Rankle’s belief in the power of collective action. Earthscape wasn't merely an exhibition; it was a platform for exploring potential pathways toward ecological harmony.
A Continued Focus on Painting and Reflection
Since his 1993 exhibition Riverfall & Other Works at Southampton Art Gallery, Rankle has largely concentrated on painting, exhibiting extensively in galleries across Europe, Scandinavia, and the USA. His work continues to explore the complex relationship between humanity and the natural world, often imbued with a sense of melancholy and urgency. He has had two retrospective exhibitions: Landscapes for the Turning Earth at Gallery Oldham (2006-07) and Selected Works 1993–2009 at Fondazione Stelline, Milan (2010), the latter featuring a collaborative work with Kirsten Reynolds entitled "On the Edge of Wrong". His paintings are now held in collections including Lancashire museums and Hastings Museum and Art Gallery. Recent projects demonstrate his continued engagement with both artistic creation and environmental themes, encompassing curatorial endeavors and immersive installations. Alan Rankle’s enduring contribution lies not only in his technical mastery but also in his unwavering commitment to using art as a vehicle for social commentary and ecological awareness—a legacy that resonates powerfully in our current era of environmental crisis. He remains an artist deeply engaged with the world around him, constantly seeking new ways to illuminate the interconnectedness of landscape, history, and human responsibility.
