By Christopher

Christopher Stott is a contemporary realist painter.


I have been sharing my work on the internet for twenty years in all the various incarnations of websites, blogs, apps, social media, platforms, etc. And if there is one thing I know for sure now, it’s that no matter how dedicated you are to a particular service or application, it will, without any doubt, completely change or even vanish entirely.

The personal website, like this one, have been around since day one. So my work gets to live here for anyone to come and see at any time instead of being washed away in the ever-growing flood of new images that flash past your eyes on Instagram.

The only advice I would give other artists about their careers is to set up and maintain a good website. Instead of pouring all your energy into things like Instagram, focus on a website. Because after 20 years or more, you’ll see it is worth the effort.

New Work in New York City

Red Royal Quiet Deluxe II / 24 x 36 inches / oil on canvas / 2022 / on the easel

This Red Royal Quiet Deluxe and Books + Pencils will be shown in New York City with the George Billis Gallery for the next few months.

Books + Pencils / 24 x 36 inches / oil on canvas / 2022 / on the easel

Back into the swing in the studio, the next several months will be busy focusing on the tiny details of many paintings.

Silver & Gold

Two new clock paintings at the George Billis Gallery in Connecticut — 10:10, No.16 & 10:10, No.19. Silver & Gold.

August, ugh — consistently the most challenging month for me to focus on work. To sit and paint all day long doesn’t work for me in August. The sun is at the wrong angle, making the studio’s light so harsh and brutal. Like so many other parts of the world, the days in my area are hot and dry. So dry. The entire region looks haggard and worn out, tired from the long hot summer days coming to an end.

I focus on preparing canvas for a burst of creative activity in the fall; when the light changes, the temperature cools down, and clouds return to the sky, diffusing the light, making the shadows softer and calmer.

Art Market Hamptons 2022

Here are two new paintings, shown on the easel, that the George Billis Gallery will have at Art Market Hamptons on the east coast, which runs from August 11–14, 2022.

Ampro Projector & Case / 40 x 30 inches / oil on canvas / 2022 / on the easel

The galleries keep me busy with exhibitions and several fairs throughout the year. I am already set to work for the upcoming fall fairs.

Globe / 40 x 30 inches / oil on canvas / 2022 / on the easel

New Work

Here’s a glimpse of another new painting that will be shown at the Seattle Art Fair with the George Billis Gallery from July 21 – 24.

Corona No.3 / 36 x 30 inches / oil on canvas / on the easel / 2022

Upcoming Fairs

I just completed this piece for the upcoming Seattle Art Fair, where the George Billis Gallery will showcase this and some other paintings. The fair runs from July 21—24.

Red Royal De Luxe / 36 x 30 inches / oil on canvas / 2022

A fellow painter reached out to me and told me they had this fantastic classic typewriter — I have the same model but in blue. So I jumped at the chance to paint a red one.

And now I have to set to work on new paintings for an art fair on the other side of the continent — The Hamptons art fair, which runs from August 11—14.

A Pilgrimage

I am back home in my studio after a journey to New York City to attend the opening reception for my exhibition that runs through to June 11. On the evening of the 26th, I had the chance to meet with and talk to collectors — and send some paintings on their way to new homes where I know they’ll be appreciated for ages to come. Sitting in a studio working on paintings can be a solitary experience, so it is redemptive to meet people who share an interest in what you do and are enthusiastic enough to talk to you about art for a good half hour.

On the Gallery Wall / George Billis Gallery / New York City / May 26, 2022

When asked to come to New York, I jumped at the opportunity. I would treat it like a pilgrimage to the art galleries; my mission would be to meander at my own pace. I visited The Museum of Modern Art, The Frick Collection, and The Metropolitan Museum of Art. I went back to the MoMA and The Met twice; I wanted to get my money’s worth. I clocked nearly 20km a day on foot as I took guided tours and spent much time soaking up the atmosphere. These galleries also offer self-guided audio tours, so I listened to many curators and art historians talking about numerous artworks. I came home feeling fulfilled and satisfied. It was a good trip.

The remainder of my summer will be in my studio, working on a commission and four new large paintings for upcoming art fairs in Seattle and The Hamptons.

New York City Exhibition

I am happy to share the news that I will be exhibiting some new paintings in New York City — the paintings go up from May 24 to June 11, 2022. The George Billis Gallery has a space at The High Line Nine Gallery at 507 West 27th Street for the summer.

If you are familiar with my work and have been following the progress for some time, you’ll see a new direction in some of the paintings. It would be about 14 or 15 years ago that I painted in “black” — and I have to say that I find it refreshing to take my favourite subjects and breath new life into them.

New Work / George Billis Gallery NYC / May 24 – June 11, 2022

Work in Progress

My exhibition in Los Angeles is done and I have run through the full cycle of emotions after completing a large body of work and exhibiting and promoting it. I have found over the years, that the best way to battle the expectations and anti-climactic feelings is to just jump right back into making new paintings. So that’s what I am doing. I just put the finishing touch on a dozen clocks, shown here, and now I’m on to the next piece.

New work in progress.

American Art Collector March 2022

American Art Collector magazine has featured my work in the past, and it is always an honour to be invited to do so again. Below you can read a recent interview about my latest body of work for my 6th solo exhibition at the George Billis Gallery in Los Angeles.

American Art Collector / March 2022 / Issue 197 / page 94-95

British Columbia artist Christopher Stott introduces a new collection of work displayed at George Billis Gallery in Los Angeles, California, through March 26. He continues to paint in his distinctive, realistic style, featuring still life, vintage objects like typewriters, box cameras, clocks and books. In keeping with the tradition of the early Dutch Masters, who have had a huge influence on his work, his pieces are full of significance and hidden meaning.

“At first glance, Stott’s paintings are elegantly refined compositions of objects on a monochromatic background,” says Tressa Williams, director at George Billis Gallery, “but digging a little deeper, the viewer falls down a rabbit hole of symbolism…Stott is part of a new generation of representational painters pushing the genre forward in fantastic ways.

It’s true that Stott has been painting the same genre, always still life objects. “In fact,” he says, “the telephone is the first object I ever painted 20 years ago.” He notes that a vintage, black rotary phone was the first object given to him in art class to paint. “What makes it still fresh?” he continues, “the idea is still relevant to today. With a receiver, you’re both talking and listening. You must stop and listen before talking; it’s a one-on-one conversation. Now, we live in a world where everyone screams over everyone else, but no one is listening.”

In Telephone Receiver I, a highly realistic black telephone on a gray background with a pencil nearby, one can clearly see the simplicity behind his vision. “The idea behind this is very subtle,” says Stott. “I’m not telling people to shut up and listen but rather, offering a meditation on real and meaningful conversations.”

The formal aspects of painting are also important to Stott, which goes hand in hand with history. “I really think that good art is connected to art history,” he says. “It has to have a bridge or passage directly to the history of painting. My subjects are old enough to be in our living memory, but the style, technique and composition are hundreds of years old.”

This is illustrated in The Interpretation of Dreams 112021, featuring a collection of vintage books with a clock on a white shelf. The way Stott uses these props is reminiscent of master still life painter Jean-Baptiste-Siméon Chardin. “He was the first to have stepped out of academic painting and painted strangely intimate, quiet paintings,” says Stott. “[The new collection] is a direct homage to paintings done in 1766. The same ideas of what they were doing several hundred years ago are still relevant to us now.”

Stott utilizes the same techniques that Dutch masters were using 400 years ago. He works in many layers to create a luminous effect under different lighting. It’s also very much about balance and symmetry for Stott, which is represented in his clock pieces. For instance, 10:10, No. 10. is painted on a 10-by-10-inch canvas with the clock hands set to 10:10.

A component also near to the artist’s heart is the history of vintage objects and even the process of searching them out. “For this particular show, I want the experience to be how I experience walking into an antique shop or museum,” Stott says. “You come upon them and look at them a little closer.” The show will have smaller paintings with several hanging closer together in groupings, so as to mimic this feeling. He adds, “I [want people to see] how I like to isolate these items and give them a new life.”

We Have Read This Story Before

My great-grandmother, whom I was close with growing up, was born on a farm in Poland in 1904. When she was ten years old, she and her family became shrouded in the brutality of World War I. The farm they lived and worked on became the stage of the Eastern Front. As a child, she was an eyewitness to the horrors of The Great War. We heard snippets of what they had to do to survive, but it was difficult for her to talk about the war. It was as awful as you could imagine.

She left Poland with her own young family in 1934, just after the Nazis came to power and just before World War II. The rest of her life was lived in peace in Canada.

She died in 2000, at age 96. I always thought about the scope of her life, about the profound changes the world went through over the near-century she was here. And now I am left wondering how she would think of the current situation.

I collect these vintage and antique books that I use in my paintings. This particular piece has a Victorian-era philosophy text long side classic Penguin paperbacks.

The ideas and stories in these books are not old, useless and out of date. Instead, it would seem that everything old is new again and in the wrong way — as evidenced in yet another terrifying war in Eastern Europe.

We Have Read This Story Before / 16 x 12 inches / oil on canvas / 2021 / on the easel