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Artist Statement:
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“The human form is probably
the strongest and most potent
symbol we have. Why not use it
to convey something
beautiful.”
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News:
A magazine article on
Stephanie's life and work will
be available to see in the
HomePlus Magazine Scotland in
the March/April 2008 Edition.
MARCH 2008 - Glasgow...
Further Information
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Artist Exhibitions:
Future Exhibitions:
Feb 2008 Caledonian show,
Contemporary Fine Art of Eton,
Windsor
Feb 2008 Valentine Show -
The Edinburgh Gallery
Mar 2008 Affordable Art
Fair, London
Mar 2008 Glasgow Art Fair,
Glasgow
Awards and Juried Exhibitions;
Nov 2003 Finalist Artlink
International Young Art 2004
(Sothebys) Tel
Aviv - Moscow - Amsterdam May
04
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Further Information
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Artist Galleries:
The Art Exposure Gallery
Glasgow, Scotland UK
The Oisin Gallery
Dublin
Rep. of Ireland
The Morningside Gallery
Edinburgh, Scotland UK
Tracey McNee Fine Art (London)
Shepherds Market, London, UK
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Further Information
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Artist Reviews:
Portrait of an Artist
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Jennifer Harper meets one of
Edinburgh’s most
exciting figurative artists,
Stephanie Rew, to find out her
inspirations, passions and
plans for the future.
Homeplus Scotland Magazine
March 2008
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Women elegantly dressed in
vibrant kimonos adorned with
lavish embroidery, others
lying
nude draped with satin sheets,
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Further Information
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Collections:
The Royal Bank of Scotland,
Gogarburn Headquarters,
Edinburgh
Lord Wraxhall,Tyntesfield
Estate, England
Ayub Khan-Din, London, England
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Further Information
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Commissions:
Commissioned Portraits;
Carole Haddow, Perth -
Portrait + Bustle Painting
2007
Mr and Mrs Torjussen - double
portrait 2006
Lachlan and Finn Williams -
Portrait commission Apr 2006
Rupert Clarke, London -
Portrait of father and Son
,Aug 2003
Eileen Brown, Edinburgh
-'Portrait of Jim Brown', Nov
2002
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Further Information
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Stephanie Rew Biography:
| Biographical information for Stephanie Rew can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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36
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| Gender |
Female
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| Status |
Married
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| Children |
1
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| Religion |
agnostic |
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| Education |
Bachelor of Fine Arts |
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| Hobbies / Interests |
gardening, music, interior design |
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| Favorite Artistic Medium |
Painting Oil
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| Favorite Arthistory Movement |
Florentine School - (1400 - 1600)
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| Favorite Visual Artist |
Caravaggio
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| Favorite Work of Art |
impossible to say
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| Biggest Artistic Inspiration |
Caravaggio, Lucien Freud, Millais, Bougereau, Whistler, Rubens, Rembrandt, Rodin, Hokusai, Utamaro, Van Eyk, Michelangelo, Da Vinci, Alison Watt, Harry Holland, Euan Uglow, Willi Kissmer, Odd Nerdrum, Ray Donley, Zhang Ye Bo, Klimt, Mucha... |
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| Why Did You Become An Artist |
When I don't paint I am miserable. |
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| Your Personal Biography |
Since college:
Once leaving college in 1994 I concentrated solely on drawing for a year or so. I was interested in movement at first drawing dancers, and then moved onto larger scale nude drawings. Eventually I returned to oil paint but treated the surface much like a charcoal drawing working in thin monochrome glazes, concentrating on mastering the tone and surface of the body.
Dance:
Dundee Rep. Dance Company.... sat in a few rehearsals and worked solely on fast sketches to capture the sense of movement. I was painting mainly nudes at that time and felt my work was too static. I have always been interested in how the body can work when it is at its optimum fitness.
The shapes that dancers can create with their bodies is very inspiring to an artist.
Nudes:
My influence can sway from the old masters like Caravaggio, to the Romantic movement of the Pre Raphaelites (Millais), The French realists (Caillebotte) to the realists of today (Lucien Freud).
They all share a sense of drama and mystery in their work, as well a masterful approach to oil painting.
Technique is as important to me as the subject matter and the drive to improve technically, inspires me just a much as a great model and fabulous lighting.
If I can manage to make my painted skin tones glow like a Caravaggio before I retire then can I die happy.
Kimonos:
Western art has been fascinated by the Oriental style since the turn of the 20th C, Degas and Manet often dressed their models in beautiful kimonos. I have always loved James McNeill Whistlers’ simple and direct approach to the portrait and his use of the kimono is a big influence on my style.
The Kimono is a work of art in itself, each completely handcrafted and unique. Painting one feels very like painting a persons portrait.
I wanted to challenge myself and involve pattern and colour into my work after such a long time in the Monochrome style. It has been a breath of fresh air.
Why the figure?
With the face hidden, the model can be every- woman. Without depicting a place or environment she can become timeless. And with pose, body language and colour you can create emotion that can be read in all sorts of ways.
The human form is probably the strongest and most potent symbol we have. Why not use it to convey something beautiful.
Future:
To continue to explore the relationship of costume and the figure. I hope to carry on painting what moves me and not necessarily what sells. As well as spending time at home with my young son Cameron.
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