edwardpovey

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“Isn't Art the world within - uncensored? Floating and breathing, independent of a so-called "art world"? And so these are the dreams and nightmares – quite simply seen.”

Selected Paintings

LIPSTICK

Edward Povey
2011

Oil on linen
26 x 24 inches

Signed and dated lower right
In the artist's own collection

This painting arose from a number of factors emerging in the art of Edward Povey. It clearly further explores gender, staging a painfully sensitive young man, dressed in a woman's frock and necklace, applying red lipstick. As Povey looks further afield around his new American studio, searching for models who suit his new subject matter, he rules out no source, and found this young man in a scene from a movie.

As has happened before in Povey's art, the issue of "sight" has become central to the feel of his paintings, and to the intention that is projected by his figures. Once again, he feels the need to find ways of "removing sight" from his characters, in this case by darkening the eye sockets so that the subject peers from the shadows. He seeks a primeval and ceremonial atmosphere in his works, which he believes is deepened by the obscuring of the eyes, leaving the viewer deprived of a resolution in his relationship with the characters, and fated to endlessly circle in search of meaning, as it is in the ceremony of life.

THE CHILDREN

Edward Povey
2008 - 2011

Oil on linen
42 x 30 inches

Signed and dated upper left
In the artist's own collection

The design for THE CHILDREN appeared with others in 2008, at a time when the symbol of the nanny was still unfolding in Povey's paintings, as a sign of the subconscious. The making of the painting itself was then delayed whilst other issues were addressed in different paintings, such as questions of color and paint surface. Finally now in 2011 the painting is complete.

In a dim room, two children gather near a fireplace, much like those seen by Povey in London in the 1950's. One of the "innocents" prepares to place a hot coal into the palm of his hand, watched casually by his sister. The nanny stares at the viewer with her head tilted provocatively, seemingly rejecting any interference. Her eyes are asymmetrical and disturbing.

Edward Povey himself can only surmise that the painting explores the relationship between innocence, the subconscious, and the emotions. "Artists," he insists, "are not responsible for the content of their art. In this case, our emotions are outraged that innocence is corrupted by the world. The world, which contains all. All loss, all sadness, all insanity, and all that is wonderful. Thus, slowly innocence is transformed into wisdom."

WHITE BOWL

Edward Povey
2010 - 2011

Oil on linen
40 x 40 inches

Signed and dated upper left
In the artist's own collection

In Edward Povey's early notes about this painting, the setting for this scene always appeared to be in an attic. A barely used room at the top of a building.
A couple, perhaps in their twenties, observed a naked child standing in a bowl of water. Originally the young man simply held his hand out in an effeminate manner, but later he came to hold the appropriate towel for the child.

It seemed to the artist that the painting could gain more power by merely implying its sexual drama, and so the boy became clothed, and the watching couple fell into deeper and deeper shadow. The resulting work presents a deliberately obscure situation, shadowy and oblique, and quietly inhabiting the territory between tender and abusive. Those who know the paintings of Edward Povey will notice the appearance of new approaches to brushwork arising in this piece.

TWINS

Edward Povey
2010 - 2011

Oil on linen
72 x 50 inches

Signed and dated upper left
In the artist's own collection

This major painting has an ominous and inscrutable quality, and through the process of being painted - was successively reduced in complexity, removing three additional figures which stood beside the table, on either side of the flying man. Matt Curtis, the powerful mayor's assistant for Austin, Texas modeled for the flying man or angel, who hovers and appears to indicate the fighting children darkly.

In Povey's usual manner, the twins have impassively erotic poses, and the artist suggests that:: "perhaps the human soul is like these twins: hard-wired for desire, and also for battle." He maintains that the hallway with the door ajar, creates a third element - filled with shadowy possibility, producing a triangle: the angel, the twins, and the door ajar. Boxes of crockery also stand around as if an event just ended, and "the party is over".

MAID

Edward Povey
2008 - 2011

Oil on linen
40 x 30 inches

Signed and dated upper right
In the artist's own collection

THE LANDING

Edward Povey
2007 - 2010

Oil on linen
40 x 44 inches

Signed and dated upper left
In the artist's own collection

Perhaps most representative of the atmosphere of eroticism blended with a monumental religiousness, which characterizes Povey’s current direction, THE LANDING depicts a suitor climbing the stairs to a landing in a mid-20th Century European home where two young women, possibly sisters, languidly await him.

A chaperone sits in an adjoining room reading, and strangely resembling Lisa Minnelli in the 1972 Bob Fosse movie Cabaret, and based in a time period in which THE LANDING is based.

PRIVATE COURTYARD

Edward Povey
2009 - 2010

Oil on linen
58 x 42 inches

Signed and dated upper right
In the artist's own collection

This is a breakthrough painting in which Edward Povey, after considerable study of the artists Balthus, Felice Casorati and Dick Ket, among others, concluded that the tonal foundations of a painting are central to its power. He maintains that a painting will reveal its weakness or strength when it is turned upside down – thus removing the distraction of the subject matter. A clear combination of tonal blocks, arranged with power and lyricism (much like in a musical composition) must underlie every abstract or figurative work.

In this scene, a woman appears to dance and sing in a private courtyard, “unaware” that she is being watched by two men. The atmosphere is one reminiscent of the Spanish Civil War, of Hemmingway, and of love and life’s complexity.

The considerable size of this work allows it a monumental quality.

THE VESTRY

Edward Povey
2009 - 2010

Oil on linen
28 x 24 inches

Signed and dated lower left
In the artist's own collection

THE VESTRY was a further breakthrough, following deeper in the learning accomplished in PRIVATE COURTYARD, in which “tonal foundations” were emphasized to create strength. But here a more fluid approach to the tonal undercoat of the painting was employed, more fluid than any under-painting method ever used in the career of Edward Povey.

ARTICULATION

Edward Povey
2009

Oil on linen
40 x 30 inches

Signed and dated lower left
Private collection in Texas

DANCING UPON THE MOMENT

Edward Povey
2009

Oil on linen
20 x 20 inches

Signed and dated lower right
Private collection in Texas

HIGH SHELF

Edward Povey
2009 - 2010

Oil on linen
32 x 26 inches

Signed and dated upper right
In the artist's own collection

TO LEARN AN INSTRUMENT

Edward Povey
2009

Oil on linen
26 x 22 inches

Signed and dated lower right
Private collection in Belgium

IN ALL THE VANISHING PLACES

Edward Povey
2008

Oil on linen
40 x 30 inches

Signed and dated lower left
In the Christy collection
Commissioned by B. Christy

WHERE CHILDREN USED TO TAP-DANCE

Edward Povey
2008

Oil on linen
28 x 24 inches

Signed and dated upper right
In the artist's own collection

In the important year of experimentation in 2008, I sought a character, an archetype through which I could explore puberty and rising sexuality in children. With Balthus as my clear influence, this opens a new chapter

THINGS WE CAN COUNT ON

Edward Povey
2008

Oil on linen
32 x 24 inches

Signed and dated lower right
In the artist's own collection

THINGS WE CAN COUNT ON seems to show a man and the child that he once was. The child plunges through the man, in a blind rage, whilst the grown man fears for the safety of his own young self – set on a dangerous course, as indicated by the falling figure from a nearby tower.

CHILD

Edward Povey
2008

Oil on linen
28 x 25 inches

Signed and dated lower left
In the artist's own collection

BATHROOM

Edward Povey
2008

Oil on linen
24 x 28 inches

Signed and dated upper left
In the artist's own collection

One of my favorite paintings – BATHROOM combines a strange and disorienting scene with an unfocused sense of madness. Relationships gone askew – as sometimes we find them.

PRIVATE WORLD

Edward Povey
2008

Oil on linen
28 x 22 inches

Signed and dated lower left
In the artist's own collection

I am quite sure that this marvelously ambiguous painting explores the uncertainty and complexity of sexual encounters.

GIRLS, GIRLS, GIRLS

Edward Povey
2008

Oil on linen
40 x 30 inches

Signed and dated lower right
In the artist's own collection

In early 2008 I edge my way into a new definition of my art. The blatant provocation in GIRLS, GIRLS, GIRLS is indicative of the desire to relinquish boundaries and censorship, and to explore all areas of my life’s experience. In this case, the woman who at first is shocking, becomes an object of sympathy, whilst the wandering and “zombified” girls could signify regret, unresolved griefs, who pace and pace blindly and monotonously through her life.

EXIT

Edward Povey
2008

Oil on linen
32 x 24 inches

Signed and dated upper left
Private collection In the South of England

EASY REACH

Edward Povey
2007

Oil on linen
40 x 30 inches

Signed and dated upper left
Private collectionBathchelor Collection, Cumbria England

EATER

Edward Povey
2007 - 2010

Oil on linen
24 x 20 inches

Signed and dated lower right
In the museum collection of The Citadelle Art Foundation - Canadian Texas

The calm “eater” thinly veils the primeval rage within himself, sitting to eat, sitting up to his “meal of life”, his life served and eaten. But could it be that he “eats” his emotions instead of expressing them. Eats his rage instead of expressing it – along with his love and enthusiasm?