English artist Stephen Stevenson,a member of the Taylor Foundation, has lived in the languedoc region of France for the past 15 years. He has exhibited widely in the region attracting press and awards for technique and originality. Selected for the Salon d'Automne de la Grande Motte from over 500 applicants and in November 2007 made his debut on the Cote d'Azur at the Gallery Art & Fire in Nice. Stephen Stevenson holds a BA Hons. degree in Philosophy and Sociology.
Stephen Stevenson is the proud father of two children; Damian (38) and Anoush (34) and happily married to "Asho" for the last 39 years. Asho, formerly actress Arshalouis Aivazian, has become a cult heroine for many a film-buff thanks to her role in Russ Meyer's Classic "Moto Psycho"(1964) check her out in Google search.
Spent many years in the entertainment/music industry. Apprenticed under the late and great impresario Jack Hylton. Thank you Clive Davis for appointing me as Director of Talent Acquisition CBS UK (1973). Headed the Music Publishing division for Robert Stigwood both in Los Angeles USA and the UK. Delighted to have been General Manager of Artist Developement at EMI Records UK (1980). Served for several years as Creative Director at Polygram's Publishing arm Chappel Music UK Ltd.
Typical UK grammar school education. Acheived BA Hons. (2.1) in Philosophy and Sociology at University of East Anglia. Awarded a post graduate diploma in management studies at the polytechnic of east London (1977).
I am an artist. I am a painter. I paint people. In fact I paint only close-up, emotionally expressive, images of real and imaginary people in vivid colours. My paintings are not so much about what people are doing and why but what they are feeling and perhaps, why.
Superficially, I paint because I like to express. I came to painting after many years of dabbling in graphics, sculpture, pencil drawing and photography. Today I work exclusively in oil. I choose to paint portraits because I believe portraiture better achieves my objectives.
Intellectually, my motives for my expressive pursuit and my reasons for my choice of subject matter are more complex. If I could articulate my reasons for my choice of subject matter, eloquently and precisely, (assuming though not accepting even the possibility that it can be done at all) I should have chosen to be a writer and not a painter.
Never the less, I do believe it contrary to instinct to dismiss our feelings and emotions as mere irrational mutterings. I would even suggest that the more we are in touch with our emotions and feelings the more we will understand the universality of our nature . Is it possible that through that understanding our capacity to realise our potential for goodness and kindness increases ? Not an entirely original concept and obviously I hold no exclusivity in the endeavour of proving such a goal. Not only that but at very best I could only play a minor role in the pursuit of that endeavour. Even so, I do firmly believe that my work at least tries to assist in the achievement of this objective.
My portraits are images of people in penetrating close-up. Capturing not so much individualism but in the end the generalities of types: images of sadness, of privation, togetherness, separateness, of perplexity, of happiness. They are not so much uplifting as enquiring and of examination; almost forcing the viewer to contemplate our similarities and universal qualities: to walk away from them deep in thought.
Many people have attested to the provocative nature of my work. I have found at the many exhibitions I have participated in that those who “see” my images appreciate them almost passionately. It therefore seems wholly appropriate that I should try to reach a wider audience. Appreciation is one pillar of my motivation but the feeling I have of “ yet so much more to do” is enigmatically more compelling.
So often it appears that the real victims of conflicts are the ordinary people.
"Victims" won the coveted Prix Conseil Général at the Salon d'Automne in the world heritage city of Albi in the Tarn department of SW France - 2008
The image features a devastating , penetrating and piercing eye contact
This work is an oil on canvas - 100cms x 80cms
This image has been used several times in the French press - picked for publicity purposes around various exhibitions - it is evidently popular and known here as
" Mere et Fils Affilge " .
The work is an oil on canvas 73cms x 92cms
I posted this image to the Saatchi site where it was described by a critic as the
" the exquisite deux seurs "
This work is an oil on canvas 100cms x 80cms
This is the heat of it - the dryness - the loneliness - the very thick of it.
This image is oil on wood 90cms x 110cms
It is hard to underestimate the influence of the Punk movement - sociologically it fulfilled an Hegelian dialectic which phased into a new and perhaps even more mind-numbing thesis - discuss?
This work is an oil on canvas 73cms x 100cms
This image attempts to capture what it is to be without knowledge
This is a work in oil on canvas 65cms x 81cms
This is the maestro relaxing on the beach
Oil on wood 81cms x 100cms