Stuart Evans Q & A

I sat down with painter and printmaker Stuart Evans to discuss some of my influences and my process since leaving art school:

How does your landscape painting relate to your place of childhood and growing up?

Only as I have developed my own artistic practice over time have, I noted similarities and visual elements that have resonated with my experience of viewing the world from my childhood until now. One thing that is obvious is the strong evening light I always see on a sunny evening outside of my childhood home- an average suburban 1970’s estate, where under certain conditions and times of day, the bricks light up and the sun catches them, creating a warm glow that I always felt drawn to. 

The casting of the shadows from trees, houses and lamp posts intersect to create compositions which only as I started as I began to properly look once I began to study art and in particular the work of Edward Hopper. This led me whilst at Aberystwyth to focus my work on exploring suburbia through a series of paintings- a thread which very much remains today in my current practice and which I feel will always remain. 

Since your student days you have travelled widely. How does this affect your painting of landscapes?

I have always been passionate about travel and places. My dad used to tell me stories of whilst he was away in the merchant navy, visiting places across the world and showing me books, images, and slides from his trips, and I always wanted to somehow link my interests in art and landscape painting with depicting and reflecting on this other passion of mine. I have been lucky enough to make this work in some ways- especially seeing the great cities of the US and exploring the landscapes of some of my favourite artists such as Hopper and Richard Diebenkorn, the latter of which felt like I was walking around in many of his paintings such was the power and experience of San Francisco and the influence its light and geography has on his practice. 

I was determined to respond to what I see through my own approach to painting- trying to depict a ‘snapshot’ or suggestion of place whilst not allowing it to be too literal- being a painting first and a response to place as a secondary element. I do not wish to only respond to places far away, however. I enjoy seeing beauty and inspiration closer to home too- even in the studio where I try to explore ideas and concepts in interior studies but also in simple compositions such as still life. 

You describe the work of both Edward Hopper and Richard Diebenkorn as being key influences

How do you see your work in relation to their work?

They both respond to place but in different ways. Hopper is more concerned with the ‘mood’ of a painting, portraying its drama or ‘silent theatre’ by creating beautiful snapshots of figures stuck in scenarios which are only added too by well-placed casts of light, and clever compositions. I was attracted to his use of light and how the artworks were constructed- being less interested in the incorporation of figures. Diebenkorn on the other hand, especially his mid-career more ‘figurative’ work which walked a boundary between abstraction and figuration in landscape painting, combined many of elements of Hoppers work that I admired, but took them to another level in terms of its use of painterly marks and movement. 

 Can you describe your connection to chosen landscapes. What is it that you look for both in urban and rural landscapes?

I am more concerned with the visual element of a composition over its location primarily. I think finding interest in some of the more mundane aspects of rural or urban landscapes is quite exciting and something that I am always looking for. Because of the important visual elements of my practice being primarily concerned with light, contrast, and perspective- these are the key things that I look for and they can be seen almost anywhere but are more common on a day where clear low light is visible. I tend to be drawn to architectural features such as bridges, underpasses, and overpasses due to the interesting and contrasting shadows and intersections that often occur, but this is not exclusive.

Pops of colour from rooftops in a more rural landscape often can create exciting potential studies. I often look to take out a sketchbook with me when all these conditions occur on the off chance, I see something that I wish to record- or whilst visiting a new place that could conjure up potential ideas. The key for me is to always be looking! 

 Do you choose to leave people out of you paintings. Why? 

I feel that adding people (or other things like cars) would give the paintings a narrative, or an element to them that I am not particularly interested in. I am always concerned with finding the balance between both the abstract and the figurative- not going too far either one way or the other, so finding something that suggests both, almost a ‘semi abstraction’. People here in my images would break things into something that would not balance a composition well. I still do draw the figure in both a causal sense and in life drawing classes which I currently still teach and take part in- a fundamental part of my practice which I see has been very important. That’s not saying I will never add figures- I just don’t for now! 

French article

Article: Tom Voyce on light, California & Edward Hopper

Wirksworth Art Festival

Guildford Artist Talks and Exhibition

19th January – 26th March 2023

I will be showing a selection of work in a joint show at the Watts Gallery in Guidford, Surrey. This will also include a private view and an artist talk. More details coming soon.

Cornwall Summer 23 Workshops

In August 2023 I will be doing a two day workshop and artist talk in Truro, Cornwall. 

More to come soon. 

https://cornwallartschool.co.uk/

Wirksworth Art Festival

‘Artist Spotlight- Tom Voyce’

https://www.artlegends.org/p/artist-spotlight-tom-voyce

A question and answer article with artlegends.org about me and my work, my influences and where I hope to go next. 

Ireland Workshop Event 

‘Upcoming Workshops for 2022’

* Workshop Update*

An exciting, six hour session has now been booked for 2022 on the 18th June at Leicester Sketch Club
⁣
This workshop will cover aspects of my process, from initial sketches and ideas- to the various stages of paintings, to finished pieces (hopefully).⁣
⁣
If you are interested I’m coming along then please contact me or Leicester Sketch Club directly.

‘Fantastic Four’ Exhibition Review

A review of my current group show at The Fletchgate Gallery in Nottingham

EXHIBITION- ‘In Transit- New Works’- 29th April – 6th June

PRIVATE VIEW 7 – 9pm Friday 29th April

New Court Gallery, Repton, Derbyshire, DE65 6FL

My upcoming solo show featuring paintings assosiated with my current body of work, ‘In Transit’- with compositions assosiated with places near and far.

Between 30th April – 6th June view by appointment only. Open Studio 27th- 29th May

‘Artist Talk- Milwaukee – July 2022

I am delighted to be visiting the US in July where I will be giving two talks in the city of Milwaukee. The first will be 19th July. For more information please click below.

MARN is pleased to host this event produced in coordination with the League of Milwaukee Artists (LMA) and artist May Klisch.

From 15th – 25th March, I will be taking part in a pop up art exhibition on behalf of @theukraineproject, a charity that supports families and the village of Makoshino in Ukraine.

I worked with this charity in 2015 and 2016, meeting many amazing people and taking part in valuable cultural exhanges.

Unfortunately many of those people- young and old are now involved in the war. The aim of this pop up show is to provide some financial assistence to them in some way.

Please visit the gallery during this time to purchase very affordable artworks and support the cause.

This is the just giving page should you wish to donate: Crowdfunding to support the Ukraine Project which aids the village of Makoshino and the children of Ukraine. Together we are stronger! on JustGiving

Thank you

Otago Daily Times Exhibition Review- February 2022

A review by the Otago Daily Times in New Zealand about my exhibition ‘Otepoti- Revisited‘ at The Artist Gallery in Dunedin. Open until May 2022.

EXHIBITION- ‘In Transit- New Works’- Spring 2022

My upcoming solo show featuring paintings assosiated with my current body of work, ‘In Transit’- with compositions assosiated with places near and far.

Private View 29th April 2022.

Keep an eye on my social media for further updates.

New Court Gallery, Repton, Derbyshire, DE65 6FL

Saatchi Art Online Catalog Feature- New This week (17th Jan 2022) 

A feature in saatchi art’s fall 2020 catalog. 

My piece ‘Studio Interior with Sketchbook’ is featured..

Click below to see more:

‘Upcoming Workshops for 2022’

* Workshop Update*

An exciting, six hour session has now been booked for 2022 on the 18th June at Leicester Sketch Club
⁣
This workshop will cover aspects of my process, from initial sketches and ideas- to the various stages of paintings, to finished pieces (hopefully).⁣
⁣
If you are interested I’m coming along then please contact me or Leicester Sketch Club directly.

EXHIBITION- ‘In Transit- New Works’- Spring 2022

My upcoming solo show featuring paintings assosiated with my current body of work, ‘In Transit’- with compositions assosiated with places near and far.

Private View 29th April 2022.

Keep an eye on my social media for further updates.

New Court Gallery, Repton, Derbyshire, DE65 6FL

‘The Magical Four’

A group exhibition at The Fletchergate Gallery, Nottingham.

Click below to check it out:

‘Otepoti Revisited’- February 2022

An upcoming exhibition of recent work from New Zealand and in particular the Dunedin and Otago region of the South island.

‘The Power of Colour’

In the Spring of 2021 I was featured in the latest edition of saatchi arts catalog, ‘Embrace The Power of Colour’.

Click below to check it out:

Recent Interior and Still Life Studies

I have always been interested in exploring my process through the creation of Still Life and Interior studies.

This has been even more prominent during the recent pandemic where lockdown has meant for lots of solitary time in the studio. 

Saatchi Art Online Catalog Feature- Fall 2020

A feature in saatchi art’s fall 2020 catalog. 

Click below to see more: 

‘What Lies Beneath’ : Irish Independent – August 2020

An article about me , my process and my recent work, focusing on one particular painting, ‘City Rooftop- Dunedin’.

Sky VIP- Virtual Workshop 

20th/ 21st June 10am – 12am GMT

Join me for an exclusive landscape workshop in collabertation with SkyVIP. Tune in Saturday 20th and Sunday 21st June to paint along with me.

Register on the My Sky app by clicking here: 

Tom Voyce Newsletter- June 2020

My Latest newsletter, including information on how you can watch my live streamed, interactive workshop through Sky VIP on 20/21st June.

‘Another Line to Follow Virtual Exhibition’ 

Check out the link to view the virtual exhibition of a group show that I was recently involved in at Aberystwyth Universiry School of Art. 

Jacksons Art Blog Interview- April 2020

I’ve been interviewed alongside a number of other artists on the @jacksons_art blog asking ‘how has painting been during the lockdown? 

Otago Daily Times Exhibition Review- March 2020

A review by the Otago Daily Times in New Zealand about my exhibition ‘Otepoti & Beyond‘ at The Artist Gallery in Dunedin. Open until May 2020.