Daily Practice: Michael Craig-Martin

“One of the most important creative realisations I have made in my life is that everything in the world is potentially available to use as art; that you can make art out of anything; that it does not matter what the thing is, it is rather a question of how transformation occurs.” So says Michael Craig-Martin, among the leading artists of his generation, whose electrifying visual language of brightly coloured prints, multiples, paintings, and sculptures of common objects illuminates an unceasing curiosity into the human experience.

Known for mentoring a cohort of students who came to be known as the Young British Artists (YBAs) during his time teaching at London’s Goldsmiths College—among them Gary Hume, Sarah Lucas, Tracey Emin, and Damien Hirst—Craig-Martin has long been a beacon within the field of contemporary art, with a generosity of spirit and thought that has only strengthened with time.

Now in his eighth decade, Craig-Martin, who was knighted by Queen Elizabeth for his contributions to art in 2016, has responded to John Clang’s Daily Practice questions, with answers that offer an intimate and moving peek into the daily habits of an artist who remains as committed to his practice as ever.

When you wake up and begin your day, which direction do you naturally walk towards first and why?

To my apartment office where I check and decide my schedule for the day and read emails.

Does your day naturally divide into phases, such as morning, afternoon, and evening? How does the rhythm and energy of these phases affect your creativity and focus?

Mainly because of age—I turned 84 in August—I find I have much more energy and am more productive in the mornings. I usually continue in the afternoon but often need to rest. I have never worked well in the evening or at night. I realise some people work best at night when things are quiet and less distracting. I quite envy them but it’s not for me.

Do you have any small routines or actions—like a personal ritual or quiet signal—that help activate your creativity each day?

I try to first go to where I left off the day before. One often sees immediately what to do in order to resolve or improve something when one comes back to it the next day. My work depends on creative planning, usually on a computer. I may work on certain things for a week or two, then not look again for a month and then come back with fresh eyes. I always finds new insight.

Where do you work, and what does that space need for you to feel focused?

I work at my home office, at the studio, and at the studio office. I need to feel focused and free of distractions, which is not easy. I am fortunate to live quite near my studio. I can walk or take a bus, and I like the trip. I cannot work with music on as I always stop to listen. I often like to listen to the spoken word because it feels like company.

Is there an aspect of your everyday life, beyond art and culture, that significantly yet quietly shapes your artistic practice?

Family, eating with friends, and travel.

What tools, objects, or materials hold meaning for you, even if you don’t use them in your work?

I love certain furniture, rooms, and places. I have always been fascinated by the classic early modernist architecture and furniture that acted as a template for the look of the modern world. It still looks modern a hundred years later.

How do you handle moments of block, fatigue, or disconnection?

Poorly. I am only truly happy when I feel I’m working well. Not feeling able to work confidently makes me worry I may never work again. I try to work anyway, even if I am disappointed with the results as eventually the tide turns. I think if you just wait for something to happen it never will.

What do you notice in the quiet moments?

That I have had a very lucky, interesting, and productive life doing what I most wanted to do. I think being able to be an artist is life’s greatest privilege.

At the end of each day, what feelings, images, thoughts, or questions stay with you?

Remembering all the things I forgot or failed to do that day. There is always more to do.