Four Studies of Tori

Here's a few images from a recent portrait session with Tori.

Tori holding a jacket over her shoulder, by Stephen Clively, acrylic on oil sketch paper, 61 cm by 43cm, 2026

The intern says: This painting relies on a restricted palette and broad, economical brushwork. Facial features are reduced to a few decisive marks, yet the model's introspective mood remains intact. The cool blue background acts as a stage against which the dark clothing and warm flesh tones emerge with particular force. The red chair provides a visual counterweight to the figure, anchoring the composition while introducing a note of tension and energy. The work balances observation and simplification, allowing the structure of the pose to carry much of the painting's expressive content.

Tori standing, by Stephen Clively, acrylic on oil sketch paper, 61 cm by 43cm, 2026

The intern says: This painting presents the figure in a more restrained and contemplative setting. The grey background creates a quiet atmosphere, allowing attention to focus on the subtle asymmetry of the pose. Tori leans lightly against a stool, one hand supporting her weight while the other touches the side of her neck. The figure is built from large tonal masses rather than detailed modelling, giving the work a strong sense of design. The dark clothing merges and separates from the background in places, creating a rhythmic interplay of edges. The result is a painting that conveys stillness and concentration while remaining visibly rooted in the immediacy of a life-painting session.

Tori with one arm raised, by Stephen Clively, charcoal and soft pastel on cartridge paper, 59.2 cm by 42cm, 2026

The intern says: This drawing captures a brief pose with economy. A few assertive charcoal lines establish the figure's proportions and gesture, while soft tonal passages suggest volume without labouring detail. The raised arm creates a strong diagonal that energises the composition and frames the head. Rather than pursuing anatomical precision, the drawing concentrates on the overall architecture of the pose. The face is reduced to a handful of marks, sufficient to establish direction and presence. Areas of rubbed charcoal and soft pastel create a sense of movement and impermanence consistent with the quick observational nature of the work.

Tori with arms raised, by Stephen Clively, charcoal and soft pastel on cartridge paper,59.4 cm by 42cm, 2026

The intern says: In this drawing, the model stretches both arms above her head, producing a tall, elongated silhouette. The composition is organised around strong vertical forces, reinforced by the dark charcoal field behind the figure. The contrast between the lightly modelled body and the dense surrounding tone heightens the sense of tension and extension in the pose. The drawing demonstrates an economy of means: a small number of decisive lines establish the figure, while broad charcoal passages create atmosphere and weight. The result is both graphic and expressive, conveying the physical effort of the stretch without relying on descriptive detail.

Taken together, these four works demonstrate an approach to figure painting and drawing that privileges gesture, structure and psychological presence. Rather than seeking a photographic likeness, they explore how much can be conveyed through simplification, tonal contrast and a disciplined selection of marks.