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Stewart Edmonson Painting
Stewart Edmonson Painting
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Stewart Edmonson Dancing Hawthorn
Stewart Edmonson Dancing Hawthorn
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Stewart Edmonson Dart in Spate
Stewart Edmonson Dart in Spate
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Stewart Edmonson Heaven
Stewart Edmonson Heaven
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Stewart Edmonson
Stewart Edmonson
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Stewart Edmonson Leaves Fall
Stewart Edmonson Leaves Fall
Stewart Edmondson, Artist
Why painting?
As a child I had 2 ambitions: to be a painter and to play for Leeds United. The Leeds’ scouts did come to see me play but not for long! But ‘a career as an artist?’ what was that? My father was in the printing trade so there were always large sheets of paper and drawing materials around the house. This was great as I didn’t have to think about keeping my drawings small! The other thing was my interest in biology: so with both of them, I ended up with a career as a Landscape Architect, a ‘proper job’.
I did this pre Fine Art Course in Leeds that totally put me off art college. I was into my ‘A’ levels and mum and dad could see art really meant something to me and came across this fantastic Scottish painter living locally. They arranged for private lessons, and this was the turning point for me as I wasn’t going anywhere at school with art. I had an ordinary life and at that time there wasn’t that consciousness that you could ever make it as a full-time artist.
When did you decide to approach galleries?
I stopped being a Landscape Architect after not too long and got involved with the Urban Wildlife group in Birmingham. I ended up in Devon with my partner Bea, creating sculptural environmental play spaces for children, eventually helping to make some of the gardens at the Eden Project. All our projects were getting bigger and bigger, I felt I had to make some decisions about painting. The birth of my son was the turning point for this. I spent a year painting 2 days a week, got together a selection of paintings and after a short search and some nerves, turned up at the D’art Gallery. With some great galleries, Dartmouth seemed the epi-centre of art in Devon and that was it, I have never looked back.
In the studio or outdoors?
Always out. Painting outside and using as much paint as I do, it can be wild - the wind and rain tends to move the paint around when you throw it onto the paper. When I come back from painting outside I am really charged. It’s not tiring at all. It can be very harsh outside but I love it. If I painted in the studio my paintings could be tight and overworked. Its fantastic outside for being loose - you’re not totally in control because of the weather and the raw inspiration of the place. Rain and spray goes all over and at first it looks chaotic but I work with it - sometimes its ruined - sometimes its great.
Favourite subjects?
At the moment -BIG skies, because that’s what’s happening out there right now. I’ve just got into Rothko, had one of his books for Christmas and its fantastic how he gets colour to resonate. That’s what I want to get into my work, creating such mood with colour. The drama, the big skies, the heavy oppression of the moor. I struggle with sun - I don’t do sunny! I enjoy shimmering seas, that sparkling light on water. Up on the moor with sun is devastating to me, too pretty! But now, this time of year is fantastic. I have a relationship with this area and that’s why it probably works. The sense of place is really important to me.
What media do you prefer?
Oil sticks are coming in now; inks using oil stick first then painting over the top with watercolour and acrylic and scraping through building up layers. Almost a Turner like quality in the sky, deep rich umber brown, storm coming or just gone and deep blue. You can’t do that just with one wash. But using oil stick gives the heavy ground then painting over gives a vibration quality, resonance. I use pencils; drawing into wet paint. Also very thick paper and cutting and scratching into it works well.
Has success changed the way you think?
I don’t think about success yet. Don’t feel I’ve done a painting that I’m totally happy about. The commercial success I am utterly grateful for and it’s fantastic to paint when I want - it’s amazing. I’m more confident now that I can paint every day, I can go out and paint all the stuff when it’s happening, spring, skies, rain. I want to get into a theme exploring particular places and then playing more with the raw colour vibration of the moors. Living up on the moors makes it easier - Being in the landscape I try to paint. But being pushed to go to the sea to widen my subjects was a great thing. Thankfully I find it easy to let the paintings go, where some artists find that difficult. I feel I have only just started. What a feeling!
Stewart's work is shown by D'Art Gallery, Lower Street, Dartmouth, www.dart-gallery.com. Call 01803 834923 for catalogue
First Published March 2008 By The Dart