On the eve of her biggest ever UK show, the figurative artist recalls a 70-year ‘non-career’ tackling fascism, abortion, tragedy and the solidarity of women
When a Paula Rego retrospective at Tate Britain was first suggested three years ago, it was welcomed as an irresistible – an inevitable – proposal. For, as the show’s curator Elena Crippa observes, there is only a handful of contemporary female artists who have achieved comparable status. And there are not many artists who have made women their subject in the inward, intense and complicated way that Rego has over the decades – painting them in pain, power and surrender. This is the largest show of her career, with more than 100 pieces – paintings, collages, drawings, pastels, etchings, sculptures – many never seen in this country before. It will be a chance to unriddle the stories the paintings tell and to celebrate an artist of fabulous – in every sense – talent. And, as with any well-curated retrospective, it will be a way in to the narrative of Paula Rego’s own life.
In the weeks before the show’s opening, Rego – now 86 – has been gamely answering questions back and forth with me over email, with her daughter, Cas Willing, as secretary. And what has emerged as one of the remarkable things about her is that, undeterred by age and its challenges, she still goes to work every day in her Camden studio, in north London. Almost 20 years ago, I met her there and will never forget the thrill of feeling backstage – for there is a theatrical element to her work, a coming together of props, an undertow of drama. I recall a lifesize horse, racks of clothes and a couch given to her by an analyst – appropriately, given her interest in the collective unconscious (she started analysis in 1966). And it is in this studio that she continues to work with her leading lady, Lila Nunes, loyal model and friend (she is, like Rego, from Portugal).
