Selected works – click to open album
medlem av Norsk Forening for Uavhengige Kunstnere
1974-2009: All sorts of good stuff from my mum.
1990-1994: Art & Design – Southwest college of TAFE, Western Australia
Using a sumptuous color palette, rich in ochre and crimsons, Australian-born Stewart Forrest paints his subjects as nature creates them, with an element of divine dynamism. Working on large canvases, Forrest boldly experiments with paint, espousing his freedom as a human and artist to explore the vast terrain of creative expression. Exploring a range of subjects taken from his psyche and physical surroundings alike, the artist paints with an inspiring, refreshing vitality and an empowering sense of courage, portraying in paint what he experiences moment to moment. “I try to let the painting process and subject matter become the tools for extracting my underlying thoughts, masking them beneath the layers of paint, only to be sensed by the receptive viewer,” he explains. The layers of both paint and concept that animate these bold images make attentive, sensitive viewing more than worth the effort.
Stewart Forrest first learned about art and its amazing potential from his mother. He is currently represented by Agora Gallery while residing in Bergen, Norway with his wife and children.
Agora Gallery-530 West 25th Street, New York
Phone: 212.226.4151 X 207
From all that falls under light to that which is hidden in shadow, I look for and build bridges between them to extract the essence of what they are.
No one technique or theme satisfies this diversity, so I extend my experience and skills into “unknowns”, using and inventing techniques that swing between those which give me a degree of control and those which are driven by chance and .
November 2013 – “Antropofani 13″ , Bergen, Norway
October 2013 – Urban Kultur – Lagunen, Bergen, Norway
March 2013 – Essence of abstraction at Agora Gallery, Chelsea, New York
March 2013 -”Urban Decay” at Tre Brør, Voss
September 2012 – Joint exhibition at Gallery Forrest – Shadeshape & Fineart
September 2012 – “Smearing Ink” at Tre Brør, Voss
July 2012 – Joint exhibition at Gallery Forrest – Shadeshape & Fineart
September 2011 – “Owned” at Gallery Forrest, Norway; Joint Exhibition
January 2011 – “Winter Works” at Glesvær Gallery, Norway; Joint Exhibition
November 2010 – “Figurative Light” at Gallery Forrest, Norway; Solo Exhibition
April 2010 – “Selected Works” at First Hotel Marin, Norway; Joint Exhibits
June 2009 – “Fractions of 3 Dimensions” at Gallery Forrest, Norway; Joint Exhibition
September 2006 – “Commission for 8 works” at Potet Kjelleren, Norway; Commission
July 2006 – “Strekens Dans” at Finken, Norway; Solo Exhibition
August 2005 – “Gallery Opening” at Tilsammans, Norway; Solo Exhibition
October 2005 – “Commission for 15 works” at BOHA, Norway; Commission
August 2004 – “Intellectual Fashion” at Northern Soul, Norway; Joint Exhibition
August 2003 – “Selected Works” at The Cut, Norway;
Juni 2002 – “Spirit of Science” at Hvaler Kulturhus, Norway; Solo Exhibition
Mai 2002 – “Commission for 4 works” at R&B Scooter, Norway; Commission
September 1998 – “Communications” at Perth Telcom Building, Perth; Joint Exhibition
March 1998 – “Selected Works” at The Barracks Art Gallery, Bunbury; Joint Exhibition
December 1997 – “Construct – Destruct” at Gelorup Council House, Gelorup;
August 1997 – “Wall Mural” at Capel Shire, Capel; Commission
March 1997 – “Commission for 2 works” for Southwest Recycle, Dardanup; Commission
Oktober 1996 – “Southwest Survey” at Bunbury Regional Art Gallery, Bunbury; Joint Exhibition
April 1992 – “Bunbury Regional Art Show” at Bunbury Show grounds, Bunbury; Joint Exhibition
I have experimented alot with techniques over the years. One of my favourite techniques involves carving out the whole motiv/ design on a large panel of wood. Then I lay the canvas over the wood and apply pressure to all edges and crevasses. I am left with a slight indentation of the carved design. I then make sure the canvas is completely level and spray a thick layer of thinned oil paint over the whole canvas. The paint particles seperate or accumulate within the linseed oil depending on the levels of the surface. It usually takes 1-3 months before I can touch the painting!
Due to the slow drying process, the thicker areas of paint create an interesting fractal like surface. What I like most about this technique, is the fact that I am only partially in control of the final result.
Another technique I enjoy focuses on texture. I drown the canvas with house paint and then cover it with glad wrap (cling film) and put it on a hot oven to cook. The paint starts to boil, bubble and steam under the plastic.
When the process is finished, I am left with a very intricate surface of lines and holes to continue painting on. Alternatively, I might scrape a two dimensional design or poem out of the house paint(as in “Leif”) before covering it with plastic. Then when I paint my desired motiv on the surface, it gives the impression of two seperate elements that have been superimposed.
Most of my more unusual techniques were derived from observations after accidents and then trying to understand what and how it happened.
90% of my work is done in oil paint and through this medium, it is the exploration of colour and the expression of stroke that lend to the mysterious elements of creation.