EXHIBITON

Work in Progress

I’m excited to be presenting a selection of new work, experimental studies, and developing ideas in an upcoming exhibition this September.

The exhibition offers an insight into my current studio practice and creative thought process, bringing together urban and rural figurative studies, abstracted compositions, still life works, and explorations of surface and material. The work reflects an ongoing period of experimentation — testing new ideas, processes, and approaches as I continue to push my painting practice in new directions.

ONLINE COURSE- COMING SOON!

Contemporary Landscape – A Sense of Place

In association with Bullclough Art School, I’m delighted to soon be able to offer one of my successful online courses to artists around the world.

Contemporary Landscape – A Sense of Place takes you on a creative journey through the beautiful Derbyshire Peak District. Join me as I explore this inspiring landscape, gathering sketches, photographs, observations and other visual material to use as reference.

From there, we move into the studio, where I demonstrate how I begin to develop these ideas through drawing, before moving on to painting and experimenting with ways of capturing the atmosphere, character and essence of a particular place.

The course follows the development of a small series of contemporary landscape paintings, showing how a sense of place can be translated from initial observations into finished artwork.

Whether you are inspired by landscape, enjoy working from observation, or want to develop a more personal and contemporary approach to painting, this course offers an opportunity to explore the creative process from first-hand experience through to finished work.

Available soon –  worldwide through Bullclough Art School.

Click here to find out more 

EXHIBITON

Sydney Nolan Prize

I’m thrilled to share that my artwork Balcony at Santa Ponça has been selected for the Sidney Nolan Open Exhibition. The show will be held at The Lodd in Hertfordshire, running from 10 July to 11 October.

Sidney Nolan Trust, The Rodd Presteigne, LD8 2LL

10TH- JULY – 11TH OCTOBER

EXHIBITON

Urban Impressions

Melbourne, Derbyshire

25th February – 5th April 

I’m delighted to be exhibiting at the Creative Gallery in Melbourne for Urban Impressions—a dynamic exhibition bringing together the work of eight artists, each offering their own unique response to the theme of the urban landscape.

This exhibition explores the many facets of city life, from architectural forms and shifting skylines to fleeting moments, hidden corners, and the rhythms of everyday urban experience. Through a range of styles and interpretations, Urban Impressions highlights how artists perceive, interpret, and reimagine the built environment around us.

The exhibition runs from Wednesday 25th February through to Saturday 5th April, and I’m very much looking forward to sharing my work alongside such a talented and diverse group of artists. It promises to be an inspiring and thought-provoking showcase, and I hope you’ll have the opportunity to visit.

EXHIBITON

The Biscuit Factory

Newcastle Upon Tyne

11thTH September-

An exhibition of work at the Biscuit Factory in Newcastle Upon Tyne.

Read a Q&A below:

LIMITED EDITION PRINTS

A select series of artworks are now available to purchase through a colaberation with iCanvas. 

Each Limited Edition print comes with a Certificate of Authenticity, including your print’s edition number and the artist’s signature.

EXHIBITON

The Burton Series

11thTH JUNE – 3RD AUGUST 2024

An exhibition of work based on my hometown of Burton on Trent. To find out more contact brewhousearts@eaststaffsbc.gov.uk or message me directly.

EXHIBITON

The Burton Series

11thTH JUNE – 3RD AUGUST 2024

An exhibition of work based on my hometown of Burton on Trent. To find out more contact brewhousearts@eaststaffsbc.gov.uk or message me directly.

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

‘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. 

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.

‘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:

‘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’.

‘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.