Paul Stone

Paul Stone began painting while completing his first degree in Art History in 1997 and since then has painted alongside his many teaching jobs, including Painting Lecturer at Sheffield Hallam University.

After completing his Masters in Fine Art in 2007, Paul began painting full time and has focused his practice on traditional still life compositions, albeit with a fresh contemporary look.

Now enjoying a growing reputation in this genre, with addition commissions in portraiture, Paul recently won several awards, including Artists and Illustrators “Still Life Artist of the Year 2010”‘Portrait of Distinction 2011’ award at Sheffield, The Thoresby Gallery Award twice, as well as being invited to exhibit at The Mall Galleries in London and the Affordable Air Fair in Battersea. Based in South Yorkshire he is currently working on his next solo show, as well as being invited to show at the New York and Singapore art fairs.

Once considered undignified for serious artistic endeavour, still life has a rich history, its repertoire altering as the genre has evolved. Recently I came across the word Rhopography, and old-fashioned term for still life paintings, meaning the study of trivial objects and small wares. I can appreciate this in reference to my work, particularly reflecting the alterations – in art – on the meanings of objects within the last century.

“Originally my work had a very traditional approach to the process of creating artworks. Although this is still present, as the paintings (and thereby my practice as whole) have developed and matured, my previous research in History Of Art has over time organically breathed a fresh perspective into the artworks.

At the core of my paintings is the search for a precision of focus on the formal properties of mundane objects that have an everyday, unremarkable presence in our lives. Aside from the fresh fruit and vegetables I buy, the majority of the inanimate objects are gathered from local charity shops, as they also record a previous unknown transience moment when they are suddenly cast out for whatever reason. This results in a familiar and nostalgic content, and for me a more intimate relationship with their representation.

My studio is now littered with hundreds of these objects, all vying for attention within a composition often created by chance: a small shift to the side, a slight change in light, and suddenly a discarded low object has newly discovered strengths.”