February | 2020 | Christopher Stott

From February 2020

Aesthetica Art Prize 2020

I am very excited to announce that my work has been shortlisted for the Aesthetica Art Prize 2020.

The renowned Aesthetica Art Prize Exhibition returns this Spring, inviting audiences to discover and engage with new ideas from the next generation of talent. Hosted by the international art and culture publication Aesthetica Magazine, it redefines the parameters of contemporary art.

Since its establishment 13 years ago, the prize has provided a platform for artists from across the world, supporting and enhancing their careers through prize money, exhibition, publication and talent development, inviting leading jurors such as Sarah Allen, Assistant Curator, Tate Modern; Claire Catterall, Senior Curator, Somerset House; Damon Jackson-Waldock, Deputy Curator, Yorkshire Sculpture Park; Pierre Saurisse, Lecturer, Sotheby’s Institute of Art, and Eliza Williams, Editor, Creative Review.

The 2020 exhibition includes 18 artists that respond to today’s key issues, unpacking the layers of digitalised, globalised world. It is an honour to have my work selected out of thousands of entries.

As Cherie Federico, Director of Aesthetica, notes: “This Prize reflects upon the global situation – actions, behaviours and developments that are changing society. These artists are responding to the world around us, offering genuine insight into how we can encourage positive change. I am privileged to have the opportunity to see and support so much talent.”

Audiences can see my Ampro Precision Projector painting and other selected works at the exhibition which runs March 13 – July 5 at York Art Gallery, United Kingdom.

Read about my entry on the Aesthetica website.

Answer the Call

Twenty years ago I was an art student at the very beginning stages of exploring painting. For years and years before that, I had always been drawn to visual arts and had an aptitude for it, especially drawing. I even took a keen interest in reading biographies of long-dead artists and seemed to retain facts and trivia about their lives.

Finding your voice, discovering your subject, and creating your own vision and style was a task that was given in one of my classes.

I found mine early on and it took a permanent hold.

Long Distance / 12 x 24 inches / oil on canvas / 2019

There’s the obvious reason I would paint vintage objects — they’re interesting. They simply look good from all angles, especially straight on. Looking at them in their painted form, you can almost hear the sounds they make, the weight of them, get a sense of interacting with them. Early on I knew that there was a personality within them and I bank on that with each new painting.

Long Distance II / 12 x 24 inches / oil on canvas / 2019

Conversations

Almost always I work on two paintings in tandem and they have a conversation of sorts.

These two paintings illustrate this in the most obvious way. The dishevelled books in the first painting make me feel tense, scattered and hectic. The second painting is calm, organized and relaxed. States of being.

Chair & Books I / 48 x 30 inches / oil on canvas / 2020

I found this chair a few years ago at Everything Old — an amazing antique shop on Vancouver Island. It was white and obviously sat in a shed or garage for a few decades. I cleaned it up and painted it black — the simple and basic design has set a perfect contrast against the wall, the varied golden pages of the books pop out.

Chair & Books II / 48 x 30 inches / oil on canvas / 2020

Pure Imagination

The objects I paint are always shown as they are in the world — I don’t pull any magic tricks — it’s straightforward realism. But the one thing I do is scale-up. These bubble gum machines can hold a place of imagination and nostalgia. When painted large and bold, they dominate the space they are in. I suppose, in a way, the “trick” is to make you notice and captivate you, even just for a moment.

I had these hanging in my house for several months, but they are now in Los Angeles at the George Billis Gallery where they will be on display from February 22 – March 28.

Oak Gumball Machine painting by Christopher Stott — Oak Gumball Machine / 36 x 24 inches / oil on canvas