Four Views of Hayley

These four studies of Hayley continue an approach increasingly evident in my recent portrait and life practice. Working across both five-minute drawings and forty-minute paintings, I am less interested in anatomical finish than in establishing the presence, structure and rhythm of the figure.

The intern says: The charcoal drawings reduce the body to a few essential lines and tonal passages, while the paintings extend this search through colour, weight and atmosphere. Throughout the works, simplification and occasional distortion are allowed to remain visible. Rather than pursuing exact likeness, the aim is to find the minimum visual information needed to capture a pose and its character.

Hayley seated on a stool, by Stephen Clively, acrylic on oil sketch paper on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: This painting is organised around a strong vertical composition. Seated on a stool with crossed legs, Hayley appears both poised and slightly tentative. Large areas of dark, blue-grey and pale pink establish a simple setting that allows the figure to dominate the image. Broad brushstrokes and bold contour lines create a sense of weight and structure, while the simplified features and restrained palette give the work a quiet, introspective mood.

Hayley seated, by Stephen Clively, acrylic on oil sketch paper, 59.4 cm by 42cm, 2026

The intern says:  In this painting, Hayley is arranged in a compact seated pose built from a series of interlocking curves. Soft pinks, mauves and blues create a calm and harmonious atmosphere. The anatomy is deliberately simplified, with the figure emerging through colour relationships rather than detailed modelling. A gently tilted head and folded arms contribute to a reflective mood, while the shallow pictorial space keeps attention focused on the rhythm and balance of the pose.

Hayley standing, by Stephen Clively, charcoal and soft pastel on cartridge paper, 59.4 cm by 42cm, 2026

The intern says: This five-minute drawing captures the standing pose with economy. A small number of confident charcoal lines establish the tilt of the head, the placement of the arms and the overall stance. Soft pastel highlights suggest volume without obscuring the drawing’s directness. Large areas of untouched paper remain visible, allowing the figure to breathe within the sheet and emphasising the immediacy of observation.

Hayley from behind, by Stephen Clively, charcoal and soft pastel on cartridge paper, 59.4 cm by 42cm, 2026

The intern says:   Viewed from behind, the figure is reduced to a series of broad, simplified shapes. A single charcoal line running down the spine provides the drawing’s central structure, while a few additional marks suggest shoulders, waist and hips. The economy of means gives the work an almost abstract quality. Attention shifts from anatomical detail to the large shapes and negative spaces that define the pose and organise the composition.