Tag Archives: figurative painting

Recent Artwork by Jess Miller

by Jess Miller


Artist: Jess Miller

“Making figure and portrait sculpture is really about chasing the shadows and profiles of the sitter. I don’t think about making a ‘successful’ piece when working – in fact I try not to think at all. Instead, focusing intensely on looking at the sitter, I let the work make itself as I try to capture what I am seeing.”

Jess completed an honours degree in art and design at Liverpool University in 1991. Since then she has continued making and learning about art. For the last ten years, her main focus – in both sculpture and painting – is a fascination with the human figure. She believes that we express our unique, personal narratives through body language and, in her figure and portrait work, Jess tries to connect the sitter with the viewer through the energy of her mark-making.

She exhibits annually with Crouch End Open Studios and was an active member of the North London Artists Network until it closed at the end of 2015. She has also exhibited in the New English Annual Open at the Mall Galleries for the last few years. She teaches regular painting and sculpture classes in North London.

Website: www.jessmillerart.com

Twitter: @JessMillerArt

Instagram: @jessmillerart

Classes: www.artstables.co.uk/all- classes



From Line to Life

by Gavin Garcia

Ana – oil on canvas

KB Bed

KB with cushion – pen and paper

Life model I – pen on paper

Lying with her – Mono print


KB II – pencil on paper

Ana portrait – mono print


Drypoint, self-portrait

KB with cat – pencil on paper

Where there used to be a theatre.

Neil Young


For Francis


Artist: Gavin Garcia

I am an artist and a musician from Gibraltar, living and working in London. Within my work I try to explore the human form through the study of individuals whilst hoping to create images which capture the vulnerability and beauty of people. At times I focus on the surrounding landscape and its encompassing attraction, be it man made or crafted by nature. By drawing, painting and printing I use the strength of line as well the power of colour to create images that hold meaning.

Website: www.gavingarciaart.com

Facebook: https://www.facebook.com/gavingarciaart

Twitter: @gavinkgarcia

Video to recent interview: https://www.facebook.com/gbcthehub/videos/1168111816606273/


Imperfect Beauty

by Thomas Donaldson















thomas-donaldson-bio-picArtist: Thomas Donaldson

Thomas is an English figurative painter and Lecturer based in Asia. He received his Master’s degree from Newcastle University in 2000 and since then has taken part in numerous exhibitions globally. His visceral works depict the portrait/nude which has been a traditional subject within the history of painting, which is easily recognizable and has been painted over and over again. This familiarity with the subject and the ideal of beauty in an increasingly over photo-shopped media allows Thomas to develop the process of painting through abstraction, mark making and impasto and at the end of the process still have something that remains familiar although imperfect and slightly awkward.

Website: http://www.thomasdonaldson.biz

Facebook   https://www.facebook.com/thomas.donaldson.art

Instagram   https://www.instagram.com/thomasdonaldsonart/

Twitter       https://twitter.com/thomasdonaldson

Pinterest     https://www.pinterest.com/thomasdonaldson/

Tumblr       http://thomasdonaldsonart.tumblr.com/





Dialogue with myself

by Melinda Matyas

The red curvature (dyptich)

The red curvature (dyptich)

Seven days (dyptich)

Seven days (dyptich)

Hope, the thing with feathers

Hope, the thing with feathers

I’am going to be a pilot

I’am going to be a pilot

The Silence of Animals

The silence of animals

6 Melinda Matyas Mama, I’m coming home

Mama, I’m coming home

The wind blows where it pleases

The wind blows where it pleases



Stopping by woods on a snowy evening

Stopping by woods on a snowy evening

And the walls were restless under chalk drawings

And the walls were restless under chalk drawings

I’ve been here before (dialogue with myself)

I’ve been here before (dialogue with myself)


Melinda MatyasArtist: Melinda Matyas

My artistic preoccupation is mostly based on existential explorations of the human condition. Very much interested in the intensity of sensation experienced from the subject’s presence, I’m looking beyond the body, discovering that beyond our well-lived triviality in each individual the spirit is made flesh, under its surface in each one the whole creation breathes. Though the starting point is always personal, emerging out of my obsessions and the emotional intensity which flows through myself and through people living around me, this intensely personal content of the work invites a reciprocal identification on the part of the viewer.





The Figure as Metaphor

by Tom Bennett

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Barely Resolved Inoffensive Nude, oil on canvas, 2016

Fatigue 4, oil on paper, 2016, 16" x 22"

Fatigue 4, oil on paper, 2016, 16″ x 22″

Fatigue, oil on paper, 2016, 12" x 9"

Fatigue, oil on paper, 2016, 12″ x 9″

Fatigue 2, oil on paper, 2016, 20" x 16"

Fatigue 2, oil on paper, 2016, 20″ x 16″

Fatigue 3, oil on paper, 2016, 16" X 20'

Fatigue 3, oil on paper, 2016, 16″ X 20′

In the Hold, oil on paper, 2012, 18" x 9"

In the Hold, oil on paper, 2012, 18″ x 9″

Muddy Company, oil on paper, 2012, 16" x 20"

Muddy Company, oil on paper, 2012, 16″ x 20″

Quiet, oil on paper, oil on paper, 2015, 19.5" x 27"

Quiet, oil on paper, oil on paper, 2015, 19.5″ x 27″

Mannered Nude, oil on paper, 2015, 9" x 24"

Mannered Nude, oil on paper, 2015, 9″ x 24″

Memory Loss, oil on paper, 18" x 14"

Memory Loss, oil on paper, 18″ x 14″

Sleepwalk Redux 2, monotype, 12" x 12"

Sleepwalk Redux 2, monotype, 12″ x 12″

Sleepwalk Redux 17, monotype, 12" x 12"

Sleepwalk Redux 17, monotype, 12″ x 12″

Sleepwalk Redux 24, monotype, 12" x 12"

Sleepwalk Redux 24, monotype, 12″ x 12″

Witch 18, monotype, 2016, 12" x 12''

Witch 18, monotype, 2016, 12″ x 12”

Witch 21, monotype, 2016, 12" X 12"

Witch 21, monotype, 2016, 12″ X 12″

These Things don't Mean Anything, 2012, 18" x 9"

These Things don’t Mean Anything, 2012, 18″ x 9″


Tom Bennett-me at silvermineArtist: Tom Bennett

Tom Bennett, born in Ridgefield, Connecticut, grew up in a household of artists and was influenced by his father, Harry Bennett, an award-winning painter and illustrator. His father’s version of Dante’s Divine Comedy was seminal in shaping Bennett’s early aesthetic.  He grew up spending much of his time experimenting with a wide range of art mediums, but particularly, drawing.

He received a Bachelor of Fine Arts in Painting at the University of Connecticut in 1982 where he worked under the noted  painter and photographer, Bill Parker. He also studied design and color under the award-winning Paul Zelanski.

Tom had his first one-man show at the Ridgefield Guild of Artist Gallery in 1983, and a few months later moved to New York City to further pursue his painting.

In 1985 Tom spent seven months traveling alone through Western and Eastern Europe— into Hungary, East Germany and Yugoslavia—and Africa, sketching while traveling and absorbing new stimuli. His visits to sites like Dauchau and occupied East Germany left him with renewed connection to an inchoate subconscious iconography.

Subsequently, travelling into northern African countries like Morocco & Algeria provided fresh, non-western- centric experiences that ultimately had a subtle, yet profound impact on his art making.

He returned to Spain and resided in Barcelona. Tom lived on the Spanish Mediterranean coast painting, where he exhibited locally in solo and group shows. Eventually he returned to New York and moved to Brooklyn, where he has resided ever since.







Portraits in Translation: The Multi-Layered Storytelling of Sal Jones

by Sal Jones

You're Heartless

You’re Heartless

You Should Leave Now

You Should Leave Now

You Tell Me

You Tell Me

Why Did You Do It

Why Did You Do It

Without Me They're Nothing

Without Me They’re Nothing

That's a Good Enough Reason

That’s a Good Enough Reason



We Can Get Out Of Here

We Can Get Out Of Here

I'm On To You

I’m On To You

I'm Just An Ordinary Guy With Nothing To Lose

I’m Just An Ordinary Guy With Nothing To Lose

Not Really No

Not Really No

Sal Jones-listen-to-me (1)

Listen To Me


Sal Jones-a-studio-photoSal Jones is a figurative artist inspired by human interplay, translating visual information into paintings; she develops ideas and themes from photographic sources with an emphasis on the painted surface. A re-interpretation of the portraiture tradition in which she uses colour and mark making as tools to communicate with, producing emotionally charged works, often of fictional personas.

Sal has a BA Hons in Fine Art and has exhibited regularly in London and across the UK. Including: Society of Women Artists annual open exhibition, Mall galleries, London; Id- A Fictional Journey into the Psyche, Display gallery, London; Discerning Eye Mall galleries London; Stopjectify, gallery Different, London. Works are held in private collections in the UK, Europe and the United States.

Website: http://www.saljonesart.com/

Instagram: https://www.instagram.com/senojlas/

Twitter: https://twitter.com/senojlas  (@senojlas)

Facebook: https://www.facebook.com/saljonesart


Upcoming Exhibitions: 

4th June – 30th July 2016

Nude Tin Can Gallery, 125 Hatfield Rd. St Albans, AL1 4JS
Private View Friday 3rd 6.30pm – 10pm



Summer Salon 2016

10th June – 1st July

Islington Arts Factory, 2 Parkhurst Road, London N7 0SF

Private view Friday 10th July 6.30 – 9.30 pm


We-R (exhibition to coincide with Pride 2016)

21st June – 3rd July

Espacio gallery 159 Bethnal Green road London E2 7DG

Opening event Wed 22nd June 6-9 pm, closing event 2nd July 6-9 pm




Seduction & Desire

5th July – 10th July

Espacio gallery 159 Bethnal Green road London E2 7DG

Private view Thursday 7th July , 6-9 pm



National society of painters, sculptors, printmakers annual exhib 2016

5th – 16th July, menier gallery 51 Southwark Street, London SE1 1RU 

Private view Tues 5th July


The Human Figure – Modern Myth & Storytelling

19th – 24th July

The Gallery, Edwards Lane, Stoke Newington London N16 0JJ

Private view Thursday 21st July 6-9:30 pm


Beauty of Line

by Jerry Shawback

Jerry Shawback Image 2

Jerry Shawback Image 3

Jerry Shawback Image 4

Jerry Shawback Image 5

Jerry Shawback Image 6

Jerry Shawback Image 7

Jerry Shawback Image 8

Jerry Shawback Image 9

Jerry Shawback Image 10

Jerry Shawback Imge 11

Jerry Shawback Image 12

Jerry Shawback Image 13

Jerry Shawback Image 14

Jerry Shawback Image 15


Jerry ShawbackArtist : Jerry Shawback

Jerry Shawback uses drawing as his primary form of expression. He studied communication design in Los Angeles at the Otis Art Institute of Parsons School of design, a division of the New School for Social Research. Jerry worked as a freelance designer, commercial artist, and animator for the entertainment industry.

After a ten year hiatus from the art world, Jerry returned to painting in 2007,  as a primary focus producing a series of self portraits encompassing various artistic motifs, while maintaining an underlining vision, cohesion and emotional honesty.  The artist’s self portrait series explores identity through multiple approaches to the same subject matter. Stylistically varied, they reveal the strange and vulnerability essence of the human condition. Jerry is now working on a series of paintings and portraits exploring self through images of others.

His affinity for people, observation of life and strong draughtmanship is apparent in his depiction of the human form and informs Jerry’s painting. Other influences include: Rico Lebrun, Egon Schiele, Francis Bacon, Lucien Freud and his mentor Cornelius Cole III.

Jerry has been sharing his works on paper daily on social media, documenting the lives and experiences around him. Exploring the subtle beauty of line through a continuing study of the human form is a common thread that permeates all his work.




Savage Shapes

by Eleanor Adair

I’ve always been interested in how self-consciousness alters our identity, so my art naturally becomes a way of exploring the different ways we define ourselves through others. I’m heavily drawn towards figurative art, and find the human form the best place to look at the extremities and disruptions that push us beyond the predictable and make the body talk. I tend to be an instinctive painter, so that I work in the moment rather than from plans. I think this means the art is less censored, less concerned, even if it’s more chaotic or absurd. With figurative art, the artist plays a role in filling up space that challenges the contained, precise and predictable forms we’re so often presented with. Once eyes start moving outside of those shapes they become exciting again. The bodies that materialise in my own work are an alternative account of the routine human form; bodies for eyes that like to wander.

Line Dance, oil on canvas 60x75cm

Line Dance, oil on canvas 60x75cm

Line Dance 2, oil on canvas 60x75cm

Line Dance 2, oil on canvas 60x75cm

Line Dance 3, ink on paper 20x30cm

Line Dance 3, ink on paper 20x30cm

Lemon, oil on canvas 100x75cm

Lemon, oil on canvas 100x75cm

Lemon 2, oil on canvas 100x75cm

Lemon 2, oil on canvas 100x75cm

Swans, oil on canvas 100x75cm

Swans, oil on canvas 100x75cm

Angels, oil on canvas 60x75cm

Angels, oil on canvas 60x75cm

Floorboard, oil on canvas 50x60cm

Floorboard, oil on canvas 50x60cm

Head studies 1,2 & 3, felt pen on paper each 20x30cm

Head studies 1,2 & 3, felt pen on paper each 20x30cm

Yellow Evolving, pen on paper 30x40cm

Yellow Evolving, pen on paper 30x40cm

Yellow Evolving 2, pen on paper 30x40cm

Yellow Evolving 2, pen on paper 30x40cm

On Pink, pen on paper, each 20x30cm

On Pink, pen on paper, each 20x30cm

Bluemen, pen on paper 30cmx40cm

Bluemen, pen on paper 30cmx40cm

Blueman 2, pen on paper 30x40cm

Blueman 2, pen on paper 30x40cm


Eleanor AdairEleanor Adair was born and grew up in Glasgow, Scotland. She has exhibited internationally including London, Paris, Edinburgh and in the US. She has no formal art training and currently lives and works in Edinburgh, Scotland.

Inside – examining moments of introspection

by JT Winik



Child's Play

Child’s Play

King Ali

King Ali



The Mime

The Mime



White Sheet

White Sheet

Day Dreams

Day Dreams

Ecstasy I

Ecstasy I

Girl with Braids II

Girl with Braids II

Homage a Degas I

Homage a Degas I

King Stein

King Stein

JT Winik Mary Anne III

Mary Anne III




Artist: JT Winik

BFA – NSCAD University, Halifax, NS

BEd – Western University, London, ON

JT Winik (BFA, BEd) is a Canadian visual artist whose figurative paintings explore themes of isolation, introspection and the fusion of contrary states of being. Her work has been exhibited in group and solo exhibitions in Canada, The Netherlands and Mexico and she is currently represented in galleries in Toronto, Prince Edward County, Montreal, and Amsterdam. Her paintings have been featured in national magazines, books and book covers in Canada, Holland, Turkey and England. She paints full time from her studio in Kingston and has spent extensive periods working at studios in Spain and Holland.










This Is My Libertine Story

by Laura Carter

Schrödinger’s Cat by Caroline Nevin  (https://www.facebook.com/CINfulART)

Schrödinger’s Cat by Caroline Nevin (https://www.facebook.com/CINfulART)


Games retire into heart
and then the Copernican window
that never quite says what it can say
because the world is made up of obsolete angles.
I listen to Neutral Milk Hotel and think of the two-headed
Hegel, though I know that A does not equal what it is.
On the other side of the city, a couple settles down
and turns on the TV for the last time. And then they get divorced.
It’s as simple as that really, the fact that they have grown apart
because the night crept into them where it hurt.
There’s really nothing left of a city when you
see only the remains of the day, and then nothing left of those old remains.
Salvador and his friends are growing beards again in my latest longing.


Every night we kiss before the sheets become wet with
remnants of bodies lost in space
Before a loss
there is always a voice that comes from somewhere telling us that we should
By we I mean me
and you the one I once remembered
but the dawn is an unruly fool
matched only by night
where things are almost simple and right with the new rain
and everybody
loves to wear a city and
even the sky is a new rooftop


A document is filed under sun and
nothing seems to change.
Outside, the world is what it has always been:
full of people needing to care
and be cared for, full of people needing to hug and be hugged and to be blessed
by something, if not others.
The old people
walk slowly to their doctors’ visits,
making ducks back into dogs,
telling off the sun because it’s so far gone and
the only thing left is
a body—not just one but maybe many
slouching toward a destination.


Modernity is made of old spikes—
you lose one, and then I help you heal where it fell
into the ground into a puddle of milk.
The other side of the revolution
is that a lover can be made of nothing
but himself—pure self—pure nothing but him-him-him-himself
and the world is brighter than an orange May.
A new romance is almost as alphabetic as
the time you escaped from the womb again.


A sun glistens in early
and you don’t know what to do so you make your coffee
and imagine what your next life will be.
Made up of the worlds of alphabet skies,
you’re not all there yet, but you want to be there oh so bad.
While you’re worrying about the next thing, I’m worrying about
where I put the keys to the car in case I need
to flee in the middle of the night and
drive to the station to write a letter.
The next thing I want to do is become ordinary,
as plain as new luxe
but not entirely live
as a wire is live, not entirely all that way.
The place near the desk where you put your chair spins.


As it turns out, the animals are awake
and listening to Cyndi Lauper on iTunes
until 3 in the morning, just because they can.
Everything for sale, until dawn
hits and their lovers turn over in their beds.
Neglect? you might ask. What’s the working world about?
It’s not the lake anyone needed.
It’s not even Times Square where the cultures are all blending and
and suddenly your Jungianism seems obsolete, retarded
by the station moving forward in space.


Someone wants to enter the door of the law for the last time.
It’s like shuffling what’s left—
with tears for ordinary
time schedules train stations left.
The latest groove is an exercise in fear,
when the world doesn’t want to take you in.
Someone enters the last door
and begs a little sustenance
as if remembering what a love was for.

laura carterLaura Carter lives in Atlanta, where she is poet-in-residence at WonderRoot Center for Art & Social Change until March. Her most recent chapbooks are out in 2014 with Dancing Girl and ShirtPocket Presses. She has published many poems online and in print journals, and she lives on the east side of the city with her two cats, Sasha and Sonya.

%d bloggers like this: