Sequences drive my work as a format and Anatomy is the predominant subject. The sequential influence comes from my time in Brighton and a life’s passion for the illustrated page. Anatomical interest comes from the tradition of life drawing, an interest in medical knowledge and a desire to map the human body and Human Condition through my own ongoing study.
Recent studies in general anatomy include Wound Man and Wound Woman. These drawings take direct influence from the Wound Man illustrations of the 15th century Germany, which indicated the often brutal injuries and disease that can afflict the human body. Although these were originally designed for the benefit of surgical pioneers, by revisiting this idea in the 21st century I am able to reflect contemporary concerns on medicine, crime and disease. The brutality of the imagery persists in these modern versions. Fragility and strength, resilience and weakness illustrate the dual nature of the Human Condition. Our ability to damage, but also to heal, the capacity for both increasing with advances in medicine and technology.
The images are born of more than 2 years research and drawing, andas prints, won The Lady Charlotte Stevenson Award at Cafe Gallery in Southwark Park and The Printmaking Today Award at Bite: Artists Making Prints at the Mall Galleries.
The Charon series are totemic drawings of skulls from source material supplied with kind permission of the Royal College of Surgeons. Magnitude of size lends these pieces a sculptural presence of permanence, but the surface pencil work is in a semi-permanent state, shifting gradually over time and use, which may eventually leave a distorted memory of the original. The delicacy of the finish on the panels mask the a strength and resilience of their structure and again reflects the fragility and strength human nature.
Using the same source material, I wanted to experiment with mark making on one one five. After using the pencil as paintbrush on Charon 1-3, I turned to the ink pad as an organic, rather than technical process by using self-made printing blocks on watercolour paper. By maintaining the same scale, I was also able to maintain the resolution without sacrificing the fluidity and immediacy of the marks. one one five was accepted into this year’s National Open Art Competition in Chichester.
Euan G. Stewart December 2011
All images © 2011 Euan Stewart. All rights reserved.