PENELOPE STUTTERHEIME

Depicting inner landscapes has long been South African artist, Penelope Stutterheime’s preoccupation. Drawing inspiration from dreams and the unconscious, her layered and textured oil paintings use impasto and intensely vibrant colour to create mesmerising abstract works

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

Image credit: Michael Hall  /  Dan Weill Photography  

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

Image credit: Michael Hall  /  Dan Weill Photography  

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

_{Image credit: Michael Hall  /  Dan Weill Photography}  

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

_{Image credit: Michael Hall  /  Dan Weill Photography}  

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

_{Image credit: Michael Hall  /  Dan Weill Photography}  

This series of new paintings capture the essence of Penelope Stutterheime’s long-standing preoccupation with depicting inner landscapes. Drawing inspiration from dreams and the unconscious, her layered and textured paintings make use of thick impasto and vibrant colour to create mesmerising abstract works.

Collectively entitled Shrine these paintings speak of a spiritual architecture, “my inner Jerusalem” as Stutterheime suggests. The title also alludes to the artist’s place of making, her studio in Cape Town, and the spiritual process she undergoes in the making of her work. She describes “pouring” her emotions and feelings through rather than into a painting. The process is deeply cathartic, with the act of repeatedly applying oil paint to the canvas, serving as a meditative process for subconsciously working through emotions.

For Stutterheime, the call and response of colour, texture and shape is ultimately a desire to find “resolution of form and sensation. Gold paint is essential to her practice – “gold is my white” – and these works - bright, exuberant and lyrically colourful – the composition appears to shift endlessly, with patterns and hues surrendering the foreground and then claiming dominance again - an eternal, elusive dance of colour, shape and form.

Contact: info@everardlondon.com

_{Image credit: Dan Weill Photography / Michael Hall}