What I enjoy about portraiture is how it engages on a personal level with the cultural identity and emotions of subjects. How do you choose your subjects you wish to depict and do you capture this?Īs a person of mixed race, I have always been interested in these themes. I read that you’re interested in exploring themes in portraiture such as culture and identity. I should have listened to him! On the day, I was definitely nervous to work with such a bold palette but it was an adventure and I had fun with it. How did you tackle this? Did you find this difficult being presented with this in front of the camera?įunnily enough, the day before the heat my husband advised me to practice painting bright colours but I stubbornly refused saying I'll stick to what I know. The background in this sitting that presented itself is slightly different from your usual colour palette which can always be tricky hurdle for an artist. The cameras were a bit tricky to ignore and I now have a huge newfound respect for actors who do this all the time! I LOVE Ncuti in 'Sex Education' so it was a such a pleasant surprise to see him walk onto set, and also to discover that he is just as charming and bright in real life! Painting him was an absolute treat. Thanks! The whole experience was a dream - one I'm so grateful to have had. ![]() We caught up with each of the heat winners to find out a bit more about their experience of the show, their work, and the materials they love to use.Ĭongratulations on winning Heat 1 of Sky Arts Portrait Artist of the Year Series 7! What was the experience like painting in front of the cameras, and capturing such a well-known face? Over the weeks and after some difficult debates the judges have selected their favourite works and the contestants of Sky Arts Portrait Artist of the Year Series 7 are one step closer to the £10,000 commission and £500 of art materials from us at Cass Art. Styles seems to know how lucky he is, adding, with a tinge of disbelief: “I’m in awe of the man with enough one-liners for a lifetime.” As to what those one-liners might be? Styles and Hockney’s mutual silence on that question suggests that what happens in the studio, stays in the studio.Eight episodes, eight fantastic sitters, and tens of wonderful portraits. He’s interested in depicting people and their relationships.” It’s why his eye is primarily trained on his inner circle these days – but it also pays testament to his enduring curiosity that he’s still willing to open that up to a newcomer every so often. Hockney’s interest is not in what people do, but rather in who they are. “He’s not a traditional portrait painter,” says Howgate. “Everybody just came to sit,” he says, breezily, before admitting: “Now I know Harry’s a celebrity, though: I’ve seen all his music videos.” “He replied straight away and said, yes, he’d love to.” From there, Hockney’s process of painting Styles was instinctive. “Clive told me about Harry’s new album, and JP sent Harry a note and asked him if he’d like to come to my studio and sit for his portrait,” Hockney remembers. One of his more recent subjects was the eminent music producer Clive Davis, who first suggested inviting Styles to swing by. Styles’s portrait will hang alongside those of writer Gregory Evans, Hockney’s printer Maurice Payne, the mayor of his local town Dozulé, his gardener and even his chiropodist, or in Hockney’s words, “the dandy who cuts my toenails”. ![]() Hockney’s eye for the human figure may be playful, often kaleidoscopic, sometimes fantastical – but it’s always, most importantly, frank. What makes his images tick, you quickly learn, is their honesty: whether in the tension bubbling beneath the surface of his famed double portrait of Ossie Clark and Celia Birtwell, painted between 1970 and ’71, or the seated figures that populated his 2016 Royal Academy of Arts exhibition, which included the likes of his own sister, Margaret, and the late comedian Barry Humphries. ![]() ![]() The Styles painting may bring star wattage, but the unassuming genius of Hockney’s portraiture is still the main exhibition draw.
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