VIEW IN MY ROOM
United Kingdom
Painting, Acrylic on Canvas
Size: 38.2 W x 38.2 H x 1.6 D in
'Self Portrait with Imprinted, Illfitting Bra and Stockings' was began in 2015 and went through a number of incarnations, winning first prize at the B' Factory's National Prize for Portraiture during one of those incarnations before in 2019 the artist felt satisfied the painting had come to the end of its journey. Initially inspired by the artist's mild fetish for the obvious sexual garb of the feminine, it was while working through this painting that he recognised this was a fetish he had long grown out of - a kind of exorcism. And, portraiture in general? In the words of the artist, " An inherent interest in the way people interact with one another and view themselves is illustrated consistently by my persistent use of the human form in general, but perhaps more intimately expressed coming face to face with an individual". Accepted on a regular basis since 1995 for the internationally renowned BP Portrait Awards held annually at the National Portrait Gallery. In 1995 and again in 1997 Brewster was short-listed for first prize for portraits of the art historian Elisa Oliver, and Christina Kirk respectively.
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:38.2 W x 38.2 H x 1.6 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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United Kingdom
Taken as a whole, the work I’ve produced over the years probably puts me in the ‘narrative camp’ as an artist, but not obviously so. To make sense of my images, you most likely need to piece them together for yourself - for me, the ongoing process in practice relying on suggestion and dislocated form to evoke multiple readings. The starting point for a work is no less diverse. Drawn to an array of ‘subject matter’, it is the constructed world where I find my motivation lies. Film and TV, Religion and Family, Urban and Rural topography, it is things such as these which have significantly shaped who I am today, and this which acts as both subject and vehicle for the work to develop and evolve. Without doubt, my strategies and how I respond to a piece in progress is personal, though not autobiographical in conventional understanding. For one such example, religion has been a topic I have returned to time and again, though I hold no religious beliefs myself. Rather, the subject explores my encounters and response to the daily rituals living with those I have been deeply involved with over the years who live with strong beliefs themselves. All in all, the initial motivation for a piece may well remain and develop but more often than not be discarded, guiding the dialogue back and forth until a wider cultural perspective emerges, only then to throw back the next line of enquiry.
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