Nuit, The Sky Goddess. Also known as Nut, the Egyptian goddess of stars.
This was inspired by my trip to Egypt in 2010 and being in awe of the enormous representations of this deity. The painting took about 6 months to complete in mid 2018 to January of 2019. The painting consists of a multitude of stars that form the body of the ancient goddess. The original painting is available for sale here — https://www.saatchiart.com/art/Painting-Nuit-The-Sky-Goddess/717162/4678735/view
A detail of the process of painting this image can be viewed below
Starlit Cliffs, original acrylic painting. Prints available here.
The original painting ( acrylic and paper on canvas – 24 H x 29 W x 1.5 in) is available exclusively at Saatchi Art, here.
This image was inspired while climbing Mount Hood several years ago, and is loosely based on a photo I took of the mountain. This particular painting depicts the steel cliffs, beneath shimmering starlight.
An original painting by Stevyn Llewellyn, depicting Mount Hood at night. Acrylic and gel on stretched canvas. Original size 12” x 9”. Currently on exhibition. The mountains at night are purely magical when the sky is filled with stars. This was painted while camping in the Mount Hood national forest, and completed in 2015. Prints are available for purchase here.
Another work in progress of my Sea series. This piece is 24″ x 48″ and rendered in acrylic. The approach to this painting is similar to my other one The Sea, where it created entirely with a pallete knife rather than a brush. this particular image took several reworkings and the intention was to evoke the force of the waves and the motion of the sea. The approach is to depict the spontaneous ephemeral movement of the ocean.
This summer, I worked on a series of plein-air paintings of the ocean from the coastlines of Oregon. Some I painted from life, others, I began as loose impressions and embellished them later with a pallate knife. The process of creating these particular series of works was immensely satisfying and ultimately liberating. For these images, I really let the paint itself take command, to let the medium be what it is, rather than trying to control it. To approach this work with pallate knives limited my ability to achieve too much realism, which was an appropriate method for the ever-changing surface of the ocean. The result was more raw, pure and energetic, which gave it a sense of immediacy and vigor, and hopefully achieved my intention of capturing the massive force of the waves.
Painting outdoors was very refreshing and I ended up taking several trips to the coast, as well as the base of mount hood to study the landscapes from life.
The 4-panels are all sold separately on society 6 as high quality prints at my online shop here. Alternatively, click each image above to be directed to it’s respective page.
I’ve been working on several new paintings recently inspired by some weekend drives to the shores of Oregon. Some plein-air studies have yielded more substantial works in both size and intensity. The one above is based on a wave formation I photographed.
For this work, I limited myself to only using pallate knives as opposed to brushes. The result is a much more rough and visceral look, which has an imperfect energy to it. I want to convey the force of the water, and the medium is a good way of depicting that. Also, the act of painting itself is more spontaneous, kinetic and energizing. Painting is this way allows me to let the paint be paint, and permit the medium to describe the scene, as opposed to attempting to replicating it exactly. This approach may lead to more in this series.
New works in progress. Allowing the process to being more loose & visceral. Attempting to let a painting be what it is, and allow the medium itself to reveal it’s nature as opposing to replicate something objective.