Alan Stewart solos at Waterhouse & Dodd

Saturday, 27 October 2007 07:17

London - On Wednesday 6^th June, at around lunchtime, an artist came into our gallery and presented us with an envelope containing images of his paintings. This is unremarkable, for in any given week this may happen a dozen times. Rather pre-occupied at the time, I left the envelope unopened until he had finished looking around the gallery and had left. After an hour or so I opened the package, and almost immediately called the artist and arranged a viewing. Three hours later I was standing in his living room, viewing what would come to be the core of this exhibition. Two days later, a provisional contract drawn up, Alan Stewart had joined us at Waterhouse & Dodd, and we were preparing for his first major solo exhibition.

Such moments of serendipity are rare. It is rare to find an artist whose work we respond to emotionally and intellectually. It is even more rare for that artist to have found us. What makes our luck (and we are not arrogant enough to assume luck was not involved) all the more remarkable is Stewarts own approach. Unlike many, he had bided his time and produced a substantial body of work, both cohesive and thoughtfully constructed. Each painting stood isolated examination, yet each made sense as part of a greater whole. Only when completely satisfied did the artist choose to present his work to Waterhouse & Dodd, a gallery who he felt might have an affinity with his painting. This made our decision much easier, and enabled us to act with great speed on his behalf.

In discussing his work, Alan Stewart notes:

“Essentially my paintings and drawings use ignored objects and or isolated landscapes to describe something we at one time did not or could not say. I often use the sea in my work because it is as an emotive place which can impresses a sense of isolation on all of us, in time becoming a place of reflection."

" Signposts in the post-modern tradition often leave us more confused than directed. The signposts in my works once served a purpose but are now obsolete and ignored. Despite this they still exist and their resilience serves to remind us of something that was once important to us all, a place, a memory or an event. The titles give an indication to something once said and forgotten, or something never said at all.”

Through disparate influences ranging from the paintings of John Bellany through to Japanese filmmaking, Stewart has managed to form a distinct and enigmatic style, and one that we hope to bring to a wider audience.

At their Cork Street Gallery 15^th November-14^th December 2007. For further information please contact: Jemimah Patterson, Waterhouse & Dodd, 26 Cork Street, London W1S 3ND - Tel: 020 7734 7800 This e-mail address is being protected from spambots. You need JavaScript enabled to view it or Visit web at : www.modbritart.com