Artist in conversation: Stephen Keane
“I lived in a trance-like world, a blurred daydream, living in an imaginary space…”
Stephen Keane, an artist who is pushing the boundaries of abstract expressionist painting to explore the complex relationship between the human form and art. His work is not constrained by consistency or a particular style; instead, it is a journey of discovery, driven by the search for underlying principles that emerge uniquely in each piece.
Stephen's art challenges the viewer to focus solely on the artwork itself. He achieves this by minimizing the content, removing its dominance, and emphasizing the sensory experience within his work. The figures in his paintings are not merely seen; they are experienced as a 'felt' presence, encouraging viewers to sense rather than interpret.
Stephen believes that interpretation often overlooks the sensory encounter with art. His mission is to reclaim our senses, encouraging us to truly see and engage more deeply with the artwork. By cutting back on content, he provides space for extended periods of looking and reflection. Throughout this process, the materiality of the painting's surface, serving as a surrogate for the body, is consistently emphasized.
Stephen's paintings, with their chaotic yet structured surfaces, serve as powerful reminders that looking is a physical act, felt within the depths of our being. His work illustrates the melding of one body with another, blurring the boundaries between self and surroundings. This absorption and dissolution of figures within the background evoke a profound connection to the world, reminding us that we are part of the rich tapestry of existence.
What initially inspired you to become an artist, and how did you develop your unique style?
I was captivated by the visual world from a very young age. Not speaking until the age of 3, I lived in a trance-like world, a blurred daydream, living in an imaginary space. My earliest memory takes me back to when I was 4 years old, watching in awe as my father skilfully copied rock album covers of the 1970s. The level of detail and photorealistic style he achieved left a profound impression on me.
I developed the style from many years of life painting and inspired by various artists such as De Kooning, Matisse and Auerbach. It’s a long process of reworking the paint crossing many styles - trial and error, allowing unintended forms for appear.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
The main theme is the figure. For motifs - abstractions of the figure, or sometimes they are small shapes reminiscent of biological forms. They present life and our internal psyche.
In expressionist painting, the body is significant for me, appearing in various forms of representation, suggestion, and even absence. Exploring this relationship allows me to delve into the implications of abstract expressionist painting and its connection to the human form.
Your artwork beautifully explores the relationship between abstract expressionism and the human form, allowing viewers to experience the figure in a subjective and sensory way. Could you share with us how you approach the process of creating these captivating and thought-provoking compositions? What role does the sensory encounter play in your work, and how do you aim to engage viewers on a deeper level?
Thanks. The starting point often comes from life painting, with action painting, rapid strokes, and Fauvist colour, without much structured work. Each stroke starts to define the next, and the process builds up to a new form. Some compositions come from found photography, where the figures have an unusual pose. People often comment that they are proud, or dominating, confident poses, but I’m doing this unconsciously. The sensory encounter comes from an imaginary state, a dream-like place, I use music to create a meditative flow state allowing the overall visual sensory theme to evolve.
On a deeper level, the work allows the viewer to imagine a alternative world, where like Cubism, the form and the space, swirl and merge together, giving us a sense of perception untethered by socially conditioned perception, I’m trying to return to a childlike gaze.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
The artworks are like one piece of art in a sense. There’s a few versions, the figure in relation to an abstract space, the figure becoming the space, being consumed by it, and the purely abstract action paintings. These all have challenges, mostly on how to complete them, - knowing when to stop painting. The process revolves heavily around chance and intuition and requires creating many works, until something works.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
From studying art on foundation and at university I have many connections with other artists and after many years in London, meeting artists at private views, with other ex-art students and visiting galleries.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I have regular “crits” with other artists friends to discuss what’s working, what I’m trying to create and why. I also make many prints of the artwork to show people outside the art world for feedback. You can immediately see which pieces have an impact on different people.
On the balance with my own integrity, I believe the artist has to have an unwavering vision, an unstoppable determination, that’s mostly self contained, and follows intuition. With intrinsic and extrinsic thinking… when you start extrinsic thinking while working, like thinking about which gallery might like a certain style, it kills the creative process, and artificially moves the focus. You have to keep an idea on what works for others, to communicate an idea, but not let it determine the overall vision.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Luckily, I don’t experience creative blocks, going to the studio is one of my greatest pleasures. You can have a week or so without being productive, but I never let it continue for any longer. Artists have a need to create, there’s no choice.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I’m thrilled to exhibit my paintings at The Holy Art Gallery. I picked up a great vibe about the place and applied immediately. I’m very much looking forward to seeing the other art, artists and meeting the organisers.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
The long term goal is to work full time as a painter, exhibit and sell work regularly. To have impact on the art world, to create master works that go way beyond my current pieces. I want to create bigger works, something monumental and transcendent.