painting | Christopher Stott

From painting

Good Society

My family took the dogs for a walk, and when we rounded the corner to another block, I spotted this shabby old chair on a driveway with a sign saying “FREE.” I knew I could make it work in a painting or two the second I saw it. So, I told my family to go on without me as I lugged the old chair back home.

I set it up in my studio and took out several antique books. And three of them were just given to me by my brother-in-law. A set of three volumes titled “Good Society.” I like that these two paintings are comprised of found and given objects.

Good Society No.2 / 36 x 24 inches / oil on canvas / on the easel / 2024

The Billis Williams Gallery will exhibit these two new paintings at the upcoming Seattle Art Fair, which will run from July 25 to 28.

Ten Cameras

I was excited when this commission came my way — the client gave me a dream scenario. It would be a challenge pushing me to work very large and maintain precisely what I convey in my work entirely. I am pleased with the final result.

Ten Cameras by Christopher Stott — Ten Cameras / 40 x 60 inches / oil on canvas / 2024 / on the easel

2024 San Francisco Art Fair

I’ll have new work showing at the upcoming San Francisco Art Fair with the Billis Williams Gallery from April 25 – 28.

1957 Royal Quiet De Luxe, From Above / 24 x 36 inches / oil on canvas

Last year, I had a few bird ‘ s-eye view paintings of typewriters at the fair, so this year, I returned with a few more.

1915 Corona No.3, From Above / 24 x 36 inches / oil on canvas

I am now working on a very large 60-inch x 40-inch complex commission. It will take me a long time and I’m excited to share it once I’ve worked past the difficult first few layers of paint.

Blacking Out

Last month, I visited the Los Angeles County Museum of Art and saw an exhibition that displayed numerous Dutch paintings from the 17th century. They’re always so striking with the details, and the very dark settings make the subjects emerge from the depths. So, on my return, I decided to keep experimenting with my subject and paint this Corona No.3 typewriter. My technique has always been an adapted indirect Dutch master’s style approach, but I settled on a high-key bright setting for my subjects. Sometimes, it’s nice to step out of your comfort zone and take a trip back in time. This painting is currently showing in New York City at the George Billis Gallery.

Corona No.3 / 24 x 30 inches / oil on canvas / 2024 / on the easel

Corono No.3 / 24 x 30 inches / oil on canvas / 2024 / framed

Fresh Off the Easel

I just finished this fifth painting in my Memory: Facts and Fallacies series. It’s on the way to New York to be shown at the George Billis Gallery.

Memory: Facts and Fallacies No.5 / 24 x 30 inches / oil on canvas / 2024 / on the easel

Piles of Unread Books

Several years ago, I painted a small series of “tsundoku” paintings. You can read about them here.

I am including a few new piles of unread books in my upcoming Los Angeles exhibition at the Billis Williams Gallery.

What Must I Do to Get Well? And How Can I Keep So? / 12 x 24 inches / oil on canvas / 2024 / framed

Now that I fully have a phone-brain and a mild dopamine-scrolling addiction, I find it more and more difficult to read books the way I used to. But I am up for the challenge and work my best to set aside time to read like it’s the olden times.

The Distressed Mind / 12 x 24 inches / oil on canvas / 2024 / framed

The exhibition of new paintings opens on Saturday, February 24th. I will be at the reception from 4pm–7pm that day.

Recent Clock Paintings

These two pieces will be part of my upcoming exhibition in Los Angeles at the Billis Williams Gallery, opening on February 24th.

My last exhibition in New York involved many large paintings, so this time around, I decided to work on a slightly smaller group of canvases.

Three Clocks & Pelican Classics / 18 x 36 inches / oil on canvas / 2024 / on the easel

Also, the black. Let’s talk about it. Years and years ago, I regularly set my work on deep black ground. I gradually phased that out and worked exclusively on white — or near-white grounds. In the past few years, I have done smaller paintings in black; it revealed my subject in a fresh and new way. So, above is the first of a slightly larger painting of what will become a new direction for my work.

Below, we have a neutral grey approach. Another way to make the subjects pop right off of the canvas.

Six Clocks – Folk Tales and Fables / 18 x 36 inches / oil on canvas / 2024 / on the easel

Off to New York City

Everything is framed and shipped to the George Billis Gallery. As I write this, many paintings are in transit, somewhere in the middle of the continent and scheduled to arrive at the gallery in New York on Monday morning.

When the paintings are in transit, I suffer from mild anxiety. It has happened a few times when the heavy-duty packaging has arrived damaged, and I dread to think of how it happens. But 9 times out of 10, everything goes as expected.

The show goes up on the gallery walls on October 3, and the reception is on Thursday, October 5, from 6pm – 8pm.

1926 Royal P Typewriter with Pencil & Black Telephone Receiver / framed

The Key Series

I just completed a series of three paintings for my upcoming exhibition in New York City. Three birds-eye view typewriters.

1928 Underwood Portable Standard Typewriter with Three Pencils / 24 x 36 inches / oil on canvas / 2023

I love painting the mechanical components of the machines.

1964 Olivetti-Underwood Lettera 32 Typewriter with Pencil & Book / 24 x 36 inches / oil on canvas / 2023

There will always be something charming and delightful in typewriters. Each piece is 2 feet tall and three feet wide. The typewriters are all depicted as life-size. My goal with these paintings is to have a viewer almost get a sense of being able to touch and use the typewriters.

1926 Royal P Typewriter with Pencil / 24 x 36 inches / oil on canvas / 2023

When I start each painting, it never fails that I end up slightly overwhelmed at the number of keys I’ve locked myself into painting. I once told someone that my ability to sit quietly and do something as tedious as painting 150 tiny circles and squares is probably the key to why I can paint as much as I do.

At Home

1957 Royal Quiet De Luxe Typewriter / 30 x 30 inches / oil on canvas / installed in a home

Happy to share this photo of my painting installed in a collector’s beautiful home. It is always a great feeling when you see where the paintings end up.