Rushmer, Gordon (Oral history)

British war artist with Dutch Marines and Bosnia and Herzegovina, 1997; war artist with Royal Marines, 42 Commando, in Mediterranean and Norway, 1997-1998; war artist with 3 Commando Bde in Kosovo, 2001; war artist with Dutch Marines in Eritrea and Ethiopia, 2001; war artist with Special Boat Service in Afghanistan, 2002; war artist with Royal Marines Logistics Regt in Afghanistan, 2002; war artist with Dutch Marines in Iraq, 2004; war artist with Royal Marines in Afghanistan, 2006-2007

REEL 1 Background in Petersfield, GB, 1946-1997: family including service of parents during Second World War; education; start of work and first exhibitions; problems with dyslexia; painting in spare time; selling artwork; story of gaining work with Werner Haub at Ashburnham Gallery in Petersfield; influences on work; visits to art galleries; details of Ashburnham Gallery; self-employment as graphic designer; marriage and family; background to gaining work with Dutch marines in Bosnia; interview in Rotterdam including learning of unit's work and of massacre at Almichi; knowledge of military. REEL 2 Continues: flight to Split and journey into Bosnia. Aspects of commission as war artist with Dutch Marines in Bosnia and Herzegovina and GB, 1997: absence of insurance; details of commission; items taken to Bosnia including art equipment; issue of flak jacket; advice given by marines; scenes during drive through Gorni Vakuf; arrival in Dutch base at Vitez; description of accommodation; communication and relationship with Dutch troops; visit to and description of Almichi; reaction to arrest of local shopkeeper and actions of locals; details of work undertaken in Almichi including painting of destroyed mosque; opinion of need for paintings over photographs; use of camera. REEL 3 Continues: reactions to tourism in Croatia; description of Split; story told by Dutch marines of caged civilians; details of resulting painting and need to release experiences through art; reactions to war and politicians; length of time in Bosnia; military need to get artists in and out of war zones quickly; periods of boredom; return to GB; period of work and resulting montage produced for Dutch Marines; process of work; memory; other paintings produced; opinion of time in Bosnia; background to gaining commission with Royal Marines, 42 Commando; details of initial commission; fitness. Aspects of commission as war artist with Royal Marines, 42 Commando in Mediterranean and Norway, 1997-1998: flight to Crete and joining of unit aboard ship; reaction from troops; details of exercises attended in Turkey including problems with kit; learning of army language; period with unit in Northern Norway. REEL 4 Continues: opinion that reputation was building; relationship with military; story of how war artist work came about by accident; invitation to join 3 Commando Brigade in Kosovo. Aspects of commission as war artist with 3 Commando Brigade, Kosovo Force in Kosovo, 2001: situation in Kosovo; flight to Pristina; details of commission; clothing worn; arrival in Pristina including briefing; journey away from airport; meeting with and advice from Lieutenant Colonel Jeff Mason; details of commission; details of patrols attended; impressions of Pristina and civilians; attendance at army briefings; actions of African Kosovo Force; contact with American troops; need for care during patrols; method of working in Kosovo; need to get details correct; opinion of work's point; building experience of painting people including occasional need to avoid painting a likeness; problems of painting explosions and action. REEL 5 Continues: settling into work and building of confidence; opinion of help gained from training with 42 Commando; posting to Podiavo near Serbian border with Princess of Wales's Royal Regiment; story of first foot patrol and meeting of two old Serb women; details of women and resulting painting; British attitude on patrol; story of trip to border with Serbia; details of Albanian attack on Serbian civilians occurring in area shortly after; visit to wounded in hospital and sketches made; story of visit to Obilic; scenes of damage in Kosovo; story of French NATPO soldier revealing plans to Serbs; painting of Obilic railway station in style of John Piper; discussion of war artists who have influenced him. REEL 6 Continues: opinion of reason for meeting few war artists; details of painting produced for 3 Commando Brigade including its location and his opinion of it; exhibition and sale of war artwork; marketability of war work; concern that people may see war as entertainment and attempts to counteract this; return from Kosovo and commission received from Dutch Marines. Aspects of commission as war artist with Dutch Marines in Eritrea and Ethiopia, 2001: change in climate; support of family in war work; situation on Eritrea-Ethiopia border; terrain of area visited; officer posted with; scenes following a battle and massacre; details of resulting painting and its exhibition; coping with such scenes; Dutch hangover from Srebrenica; opinion of Dutch and British troops; story of meeting Eritrean fighters; story of first meeting with refugees. REEL 7 Continues: impressions of civilians including dependence on UN aid; painting of refugees; attitude of Ethiopians toward UN; story of journey across border into Ethiopia; issue of insurance; length of period in Eritrea; accommodation; Dutch sense of humour; details of painting produced for commission; additional work done and paintings sold to Dutch Marines Museum; exhibition of work in Rotterdam including story of private view; importance of gaining recognition; travelling exhibition supported by Hampshire County Council; follow-up exhibition being created at time of interview; relationship between war and peace work; discussion of technique; confidence gained from war artwork; conversation and debate created by war work. REEL 8 Continues: story of learning about World Trade Centre attack, 9/9/2001; personal and artistic reaction; discussion on approach to subject of war and media coverage of conflict abroad; start of American and British involvement in Afghanistan; commission from Special Boat Service in Poole. Aspects of commission as war artist with Special Boat Service in Afghanistan, 2002: apprehension on first meeting with unit; interview with commanding officer; meeting with unit from action at Fort Qala I Jaghi including details of action; insistence on need to see fort; reactions after acceptance of request; importance of viewing scenes and living with troops; art materials and other equipment taken. REEL 9 Continues: details of kit and inoculations; description of flight from RAF Brize Norton including lack of ID and hush-hush nature of role; arrival in Kabul; disembarkation and flight to Bagram; arrival and meeting with minders; accommodation; scenes on airbase the following morning; minefields on airbase; paintings made from scenes; sketches made on airbase; description of airbase and living conditions; clothing worn; details of day visit to Kabul; impressions of civilians including details of housing and state of city; impossibility of sketching during trip; contact with English speakers; terrain around Kabul. REEL 10 Continues: impressions of Special Boat Service including story of journey from Kabul to Bagram airfield; briefing for journey from Bagra; description of flight to Mazar-e Sharif aboard Boeing C-17 including terrain of Hindu Kush; airfield at Mazar-e Sharif; journey into city and description of safe house; sleeping arrangements; latrines; living conditions; memories of officer; journey to and details of Fort Qala I Jaghi; welcome on arrival; tour of fort; method of working on commission; location of and reflections on finished piece; other paintings made and sold on subject. REEL 11 Continues: description and use of model made to help with commission; story of visit to Balkh; Northern Alliance opinion of Special Boat Service and extension of respect to Rushmer; Northern Alliance tank display; story of meal laid on by Northern Alliance including shooting of one guest through the hand; onset of subsequent illness; ambulance journey; treatment and stay in field hospital including details of run to latrines; decision to send him to GB; delivery of kit; journey to and wait in Kabul; flight to GB; drive from RAF Brize Norton to home; visit to GP and treatment; offer of commission from Brigadier Jeff Mason of Royal Marines Logistic Regiment for work in Afghanistan. REEL 12 Continues: output from first visit to Afghanistan; memories of Northern Alliance General; signs of Taliban's actions. Aspects of commission as war artist with Royal Marines Logistic Regt in Afghanistan, 2002: flight to and stay in Kabul including changes in city; decisions made to avoid illness; journey to Bagram airbase; details of rewards offered by Taliban for kidnap of soldiers; increase of tension in area; details of commission; stories from journeys on convoys with unit; details of painting depicting a convoy; details of convoy movement; mine awareness training received at Bagram; method of removing oneself from a minefield; story of wandering into a minefield in Iraq; activities during trip; attendance at briefings; opinion and details of unit; relationship with civilians; impression of troops; problems with SA80 assault rifle; attitude of troops and media to equipment shortages. REEL 13 Continues: impressions of American army; painting of King's Palace in Kabul; story of portrait made of Northern Alliance soldier; advantages from being a landscape painter; details of commission; details of sketches made; ethos behind war work; creative and media presence in Afghanistan; weighing up dangers faced during work; details of final painting for commission; other paintings made including problems with painting camouflage. REEL 14 Continues: period of rest and hopes for new commission following invasion of Iraq; commission from Dutch Marines for work in Iraq; preparations for trip including story of near cancellation. Aspects of commission as war artist with Dutch Marines in Iraq, 2004: story of flight to Basra; welcome on arrival; description of airport building; disclaimer signed; story of mortar attack; scenes on journey to Samawah; reading of extract from diary on walk through market; activities with unit; diary extract from end of first day; reactions to situation in Iraq; relationship of troops with civilians; hostility in area; work of unit with local schools including locality of Al Muthanna Governorate; details of patrols with Boeing CH-47 Chinooks; field hospital exercise set up for commission; medical staff with Dutch and British Marines; comparison of 2004 Iraq with 2002 Afghanistan; English speakers among civilians; local custom of beating shoes; painting of defaced portrait of Sadam Hussein; details of sketches made including safety while doing so; opinion that visited Iraq at best time. REEL 15 Continues: relationship with civilians; opinion and impressions of US Forces; length of period in Iraq; accommodation; description of Dutch and US forts; visit to Talil airbase at Nasiriyah; sketching of wrecked aeroplanes; visit to ancient city of Ur; tight schedule of trips; cost to and enthusiasm of army; nature of work; reading of section from diary concerning visit to school on Euphrates; reading of section from diary concerning visit to Al Qada area; use of diary in paintings; opinion of American troops. REEL 16 Continues: details of paintings made for commission; other paintings made for Dutch Marines and self; knowledge of Royal Marine 2006 deployment in Afghanistan; background to gaining commission with Royal Marines; army opinion that Taliban would not fight in winter; kit issued for trip. Aspects of commission as war artist with Royal Marines in Afghanistan, 2006-2007: problems getting flight from RAF Brize Norton; flight to and arrival in Kandahar; journey to base with Viscount Slim and Lord Attlee; first night of trip; news of posting and journey to Lashkagar including reaction and attempt of pilots to draw fire on arrival; reception for two House of Lords members; description of base at Kandahar; briefing on arrival and reactions; flight to Gureshk; length of stay at Gureshk; activities of unit; New Year celebration; opinion of Lord Slim. REEL 17 Continues: attempt of Viscount Slim and Lord Attlee to join a patrol; description of patrol attended on New Year's Day 2007 including action witnessed; reactions to activity including description of mortar activity; organisation and activities of Taliban troops; details of British involvement in Helmand; paintings resulting from patrol including further description of action and difficulties; details of other painings made from trip; including importance of travelling to war zones; suicide bombing in Lashkagar including reactions of troops to possibility of suicide bombing; foot patrol organised in Gureshk and reason for pulling out. REEL 18 Continues: coping with life in war zone; support from wife Shirley Rushmer; opinion of war work and status as war artist; approach made to Imperial War Museum and reaction to rebuff.