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Painting (MA)

Emily Stevens

Emily Stevens is a British artist who was born in London, lives by the sea, and currently divides her time between studio in London and home in Brighton. She has a BA in English Literature with Spanish from the University of Sussex. Emily was Artist in Residence at England's oldest outdoor pool in 2019, a member of artist-led Chalk Gallery, and has had her work exhibited across the UK.


I am especially thankful to all the students, fellow artists and tutors that I have encountered at the RCA, from whom I have learnt so much.


Show Location: Battersea campus: Painting Building, First floor

Artist standing in front of her degree show installation with collaged paper, line drawings and the word 'mother'

Paint is controlled spillages of emotion.

Paint is sensuous, visceral.

Paint is pricey.

Paint takes you away from your family.

Paint is sexy, paint is dirty, paint is bad for your health, addictive. Paint is a siren calling from the rocks. Paint is best done when sober, like swimming. 

Paint is a lover, or a mate. At times illicit, heady, not to be trusted. Or a true companion. Like a dog, and just as messy.

Paint is a distraction. I think about painting lying in bed late at night. I daydream about painting whilst my children call me from another room, or tug at my sleeve while I am in my own paint-filled planet.

Paint is a form of self-soothing, the same as food, drugs, alcohol, sex, shopping.

Paint is a hiding place.

Paint breathes life into time. I am so glad to be alive, I just want the work to feel alive too.

I want to make work for the sake of saying something honest and I’m interested in making something that holds me in a state of possibility. I want to discover something that I didn't know before.

I have been trying to reconcile being an artist with motherhood; each of these requires dedication and intensity and time. Both of these are states of being; they are not roles that you can step in and out of any more than you can take your legs on and off (unless you have prosthetic limbs). They are immersive, at times difficult to bring together, but necessarily mutual. Each can sustain the other, if you allow them to work in symbiosis rather than competition or conflict.

There are always questions; questions about the work, about life, about how to parent, how to communicate with others. These questions are part of my work, and I am building them into the work. I see the experience of being a painter, and a human, as a moment to be lived, as a process, and as a set of questions to tackle and pursue rather than resolve.


Installation view, May 2022
Installation view, May 2022
detail: oil paint, spray paint, oil on paper
detail: oil paint, spray paint, oil on paper
detail: oil paint, spray paint, oil on paper
detail: oil paint, spray paint, oil on paper
corner detail: oil paint, acrylic, spray paint, oil on paper
corner detail: oil paint, acrylic, spray paint, oil on paper
detail: ink on tracing paper
detail: ink on tracing paper
detail: sketchbook
detail: sketchbook

2022 degree show on-site installation.


Medium:

oil, acrylic, ink, spray paint, paper assemblage

Size:

700x300cm (variable)
Paint More Words, Wall Installation, oil, oil pastel, acrylic on wood, 98x107cm, 2022
Paint More Words, Wall Installation, oil, oil pastel, acrylic on wood, 98x107cm, 2022
Paint More Words, acrylic on wood, 13x19cm, 2022
Paint More Words, acrylic on wood, 13x19cm, 2022
Heels on the Train, acrylic, marker pen on wood, 16x19cm, 2022
Heels on the Train, acrylic, marker pen on wood, 16x19cm, 2022
Day of the Triffids, acrylic, oil pastel on wood, 16x19cm, 2021
Day of the Triffids, acrylic, oil pastel on wood, 16x19cm, 2021
Two Fingers and a Thumb, oil, acrylic on wood, 10x16cm, 2022
Two Fingers and a Thumb, oil, acrylic on wood, 10x16cm, 2022
Process: Is It Enough, oil, acrylic, marker pen on wood, 16x18cm, 2022
Process: Is It Enough, oil, acrylic, marker pen on wood, 16x18cm, 2022
Thoughts That Can't Be Heard, oil, acrylic, oil pastel on wood, 42x42cm, 2022
Thoughts That Can't Be Heard, oil, acrylic, oil pastel on wood, 42x42cm, 2022
Say A Small Thing, Edgily, oil, acrylic, spray paint on wood, 30x40cm, 2022
Say A Small Thing, Edgily, oil, acrylic, spray paint on wood, 30x40cm, 2022
Can't See Me, oil, acrylic, oil pastel on wood, 34x42cm, 2022
Can't See Me, oil, acrylic, oil pastel on wood, 34x42cm, 2022
She, oil, acrylic, oil pastel on wood, 42x42cm, 2021
She, oil, acrylic, oil pastel on wood, 42x42cm, 2021
Her Eyes Are Bigger Than Her Belly, oil, acrylic on wood, 43x53, 2021
Her Eyes Are Bigger Than Her Belly, oil, acrylic on wood, 43x53, 2021
There Never Was Certainty
There Never Was CertaintyImage used for dissertation. Oil on canvas, 18x24cm, 2021
Catching life, holding death: A shuttering and assembling of the self through motherhood - Emily StevensMA Dissertation

This dissertation was written in the first year of the MA, and is my version of a postpartum document. What I did not expect was how writing this dissertation would influence and alter my painting practice. As a result, the shift within my studio practice became incorporated within the writing; practice assimilated writing and painting into one.