View In Room
View In Room
Oil on canvas
Dimensions: 121.9cm (H) x 91.4cm (W) x 5.1cm (D) / 48" (H) x 36" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
Heroine series painting. 1st of six portrait compositions of Tina, from our December 2018 photo shoot. More elaborate composition, focusing on light reflection from folds in cloth to emphasize frozen in time quality. Tina was expecting her first, hence the title. Short video "Making Concezione" is available on the artist's web site and Youtube
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Based in: Rochester
Stephen is a figurative and abstract artist with a BS in Photography from the Rochester Institute of Technology. Believing the oil portrait work and acrylic abstract landscapes are synergistic, he switches back and forth, working progressive series in each. “Abstract landscapes for me, are like candy - they are fast, stream of conscious, get dirty works that are helping me loosen up and inspired to apply more abstraction to my figure work.”
Stephens XScape abstract series paintings are focused on pushing land and seascapes to more primeval forms. Earth, Water, Air, Fire were used to explain the nature and complexity of all matter in ancient times and provide the inspiration for the works. “Acrylic’s lend themselves to this style of painting. I can apply paint using rollers, spray, knife, sponge, hands, hair blowers, sometimes a brush, one layer over another. Unlike my figure work, I rarely use reference photographs, none are needed.”
“The Heroine series portraits capture everyday, local women – a biologist, a singer, a student, mother … and transforms them on canvas, into the heroines they truly are.” Most portraits begin with a model photo shoot to capture multiple poses, followed by composition design. Stephen explains that his oil portraits have historically been more representational, requiring tighter media control. Over time, that may change with further abstraction.
“Trained in chemical photography, I started out spending hours in dark rooms, projecting light and processing film. Now its impossible to shake the concept of freezing time. I still use a camera in all phases of my portrait artwork, but its just a tool. Something better happens when I paint. And when I finally invoke a connection with another person, far deeper than what I can accomplish with a camera, there is nothing better in this world.”
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