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A Man Looking Down (Self Portrait) Painting

Stephen Robertson

United Kingdom

Painting, Oil on Canvas

Size: 11.8 W x 15.7 H x 0.8 D in

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About The Artwork

I seem to need angles to get excited about a painting. There's something about seeing people from slightly unusual angles in a painting that causes people to look a little more closely, and a little longer. I think it has something to do with taking a moment longer to recognise exactly what we're looking at. Whatever the reasons, all my paintings have it in common, along with bold outlines, delineating the face and features. For me, the strong outlines feel emphatic, somehow anchoring the image down and realising that this view was a momentary, fleeting sight, caught on camera. To be honest, getting this shot took real contortions! I took it myself and had to tie myself in knots to get a good angle. And also, what I've found really funny for years now is how misleading my imagination is. The image appears in my imagination first, from which I then try to reproduce it in a photo. But the problem is, imagination is so vague. In trying to reproduce the angle in my mind's eye, I discover that I've imagined multiple angles simultaneously. The angle doesn't actually exist! It took me such a long time to understand why my vision for a painting didn't seem to work. So obvious to state when you know. Not so obvious when you're struggling with frustration!

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:11.8 W x 15.7 H x 0.8 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Hi, welcome to my page! I hope you enjoy browsing my work. My paintings are exactly what they appear to be. There’s no symbolism or nuance and it’s not necessary to interpret. They’re raw, direct experiences of people and things, and they’re painted in a raw, direct way. So in that sense, they are what they are. I complete each work in one session. If they’re not finished within that time, the moment is irretrievably lost and the painting is scraped or abandoned. It doesn’t work any other way. New paintings are then painted over old. Why I should need to work this way is rooted in a kind of shock of realising ‘what is’. I have always been a little shocked by the immediacy of ordinary experience, and throughout my development as a painter, I’ve worked to represent that as accurately as possible. This explains the ordinariness of my subject matter, and the narrow range of people and subjects I choose. I paint the people I know (not many), and I paint the things around me. So, no grand themes of life. Instead, I paint the intimacy of familiarity, but seen anew, such as in those moments of clarity when the ordinary and familiar seems strange and unfamiliar. I believe those moments are gifts of true awareness. To see what’s really there, even if it’s been seen a thousand times before. There’s something almost miraculous about that. Perhaps that’s my true intention. My paintings may sometimes remind others that it’s possible to see the miraculous in ordinary things. If you have any questions or comments regarding my work, I'll be very happy to hear from you.

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