Pattern and Figure: Spring Exhibition 2018

My intern has had a look back at my ASOC Spring Exhibition entries since 2018 when I joined ASOC.

The intern says: The Patterned Life paintings explore the relationship between figure and interior rather than portraiture alone. The model becomes one element within carefully organised arrangements of textiles, wallpaper, plants and windows. Decorative pattern is used not simply to enrich the surface but to organise the picture, allowing figure and setting to share visual importance.

Patterned life - woman in black, by Stephen Clively, acrylic on oil sketch paper, 2018 (50 by 70cm, framed). This artwork was awarded "Best Portrait or Figure" at the 2018 ASOC Spring Exhibition.

The intern says: The seated figure is woven into an interior built from contrasting patterns, bold colour and flat areas of tone. Floral wallpaper, a patterned rug and a potted plant frame the figure, while the black clothing acts as a visual anchor against the vivid surroundings. The painting is as much about the organisation of space as the sitter.

Patterned life - rose and green, by Stephen Clively, oil pastel on oil sketch paper, 2018, (50 by 70 cm, framed). This artwork was awarded "Highly Commended" in Oils at the 2018 ASOC Spring Exhibition.

The intern says: The floral dress stands against an expanse of luminous green, concentrating attention on the repeated rose pattern and upright stance of the figure. The face is reduced to a small number of planes and lines, allowing colour and design to carry much of the expressive weight.

Patterned life - nude, by Stephen Clively, gouache on oil sketch paper, 2018, (70 by 50 cm, framed).

The intern says: The reclining figure echoes the patterned textile beneath her, with sweeping curves in the body answered by the motifs of the rug. The limited palette and flattened modelling favour decorative unity over naturalism, while the pared-back outline keeps the composition coherent despite the surrounding complexity.