BRIAN SAYERS
IN PLAIN SIGHT
IN PLAIN SIGHT
‘We who draw do so not only to make something observed visible to others, but also to accompany something invisible to its incalculable destination’
John Berger ‘Bento’s Sketchbook’
The still life genre once considered the lowest of art forms has, of course, since been redeemed by the work of among others, Chardin, Cezanne and the Cubists. It comes into its own when used as a basis for compositional experimentation, where any more spectacular subject matter might be a distraction to the calm exploration of the relationship of objects.
Although this has been a consideration in my work for some years, it became clear that absolute neutrality is unlikely. In fact the simple combinations of trivial and more extravagant objects ( shells, flowers etc) soon trigger all sorts of resonances. And once more complex forms are included, an imaginative narrative takes hold. Symbols may speed up this process as in the momento mori of the 17th Century.
(Two paintings by Vermeer for example, ‘A Woman Reading a Letter’ 1663 and ‘ A Lady with a Lute’ 1662-3 were instructional and inspirational in their employment of dynamic negative space and
Mondrian–like abstraction, yet quietly pregnant with meaning right across their surfaces).
The paradox of looking at painting is that although its impact can be absorbed with a glance, its proper experience may only be constituted slowly. A continuing reference point is the ‘all-over’ compositions of Pieter Breughel. Their changes of focus are intended to keep the eye scanning, bagatelle like and in perpetual motion, creating a playful counter-point.
Indeed the whole method of painting reveals itself over time, constantly reacting and responding to its own making, the result being often unintended and surprising.
In addition to this sense of unforeseen outcomes, it should be noted that these paintings are not generally speaking made from life but from things previously seen or invented. The composition, as in music, predominates.
Brian Sayers, February 2025
SMALL STILL LIFE 2024 | Oil on canvas 30 × 40 cms
FOU 2009 | Oil on panel 27 × 27 cms
AMOUR
IN THIS STYLE 2022 | Mixed media on paper 24 × 29 cms
CORNER OF A TABLE 2023 | Oil on canvas 50 × 50 cms
SPIRITUALIZED 2010 | Oil on canvas 182 × 212 cms
ABSTRACT 2024 | Oil on canvas 60 × 60 cms
UNTITLED ( to RD) 2017-24 | Oil on canvas 51.5 × 51.5 cms
above: THE CRACKED PLATE 2024 | Oil on canvas 40 × 50 cms
right: IN PLAIN SIGHT 2023 | Oil on canvas 100 × 100 cms
STILL LIFE WITH DUCK 2024 | Detail
STILL LIFE WITH DUCK 2024 | Oil on canvas 100 × 100 cms
A VASE
FLOWERS IN
2023 | Oil on canvas 40 × 50 cms
STILL LIFE WITH CHINESE VASE 2024
Oil on canvas 60 × 60 cms
DARK STILL LIFE 2022 | Oil on canvas 50 × 50 cms
COMPOSITION WITH HARE 2024 | Oil on canvas 100 × 100 cms
WINTER STLL LIFE 2025 | Oil on canvas 127 × 122 cms
BRIAN
SAYERS
Born 03.10.54
Studied at the Slade School of Art 1974-8 (Dip. Fine Art, London)
Selected Solo Exhibitions
1992/94/ 96/98/2001/04/07/10/13/17/21/25
Long & Ryle, London
2023 John Brown Publishing, London
2000 Lowewood Museum, Herts.
1995 Hohental & Littler, Munich
Selected Group Exhibitions
2025 London Art Fair
2023 RA Summer Exhibtion
Alex Eagle Studio
2021 John Moores Painting Prize, Walker Art Gallery, Liverpool
2020 The Spiritual Exercises, Arts Chaplaincy Projects, (online)
2019 ‘Draw’ Saatchi Gallery
2017 BP Portrait Award, National Portrait Gallery
2016 Christmas show, Long and Ryle
BP Portrait Award, National Portrait Gallery Garden Show, Long & Ryle
2015 RA summer exhibition
2013 ‘Still Life’ Waterhouse and Dodd, London
Miami Art Fair, Waterhouse and Dodd
2012 ‘Surface’ Colart gallery, London W11
‘The Smallest Composite Number’ Standpoint gallery, London N1
20/21 British Art fair, Royal College of Art, London
2010 ‘Fine Things To Be Seen’ Rose Wylie, Edwina Ashton et al, the Chapel, Kensal Green Cemetery, London
Hamptons Art Fair, Long Island USA
2007 ‘20th C Works on Paper’ Art Fair, Royal Academy
2006
‘Enclosed Gardens’, Long & Ryle
‘The Portrait Show’, Long & Ryle
Simkins Partnership, London
2004 ‘Playing Dead’, Long & Ryle
2004 Chicago Art Fair
2001 RWA Open, Bristol, England
1994/8/9/00/02 Hunting Art Prizes, London
1994-12 London Art Fair
1998 ‘Focus on the West’, Pitshanger Manor Art Gallery, London
1995/6 The ‘Discerning Eye’, London
1996 Oriel Mostyn Open, Llandudno, Wales
1990 Riverside Open, London
1989/90 Royal Overseas League Open, London
1987 John Player Portrait Award, National Portrait Gallery
Awards & Prizes
1978 Winsor & Newton Award
1979 Richard Ford Award, Royal Academy
1995 Major prize winner, ‘The Discerning Eye’
1999 2nd prize, Hunting Art Prizes
2001 RWA Open, ‘Commended’
Works are in private collections in England, Italy, Germany and the U.S.A.
Articles etc
‘Clocking On’ Jeffrey Dennis TURPS BANANA issue 4, 2007
‘Things that go bump in the night’ Jay Merrick INDEPENDENT – May, 2001
‘For our eyes only’ William Packer FINANCIAL TIMES – November, 1995
TWO LEMONS 2024 | Oil on canvas 20 × 25 cms
Paintings © Brian Sayers | Introduction © Brian Sayers | Catalogue © Long & Ryle London
London
Long & Ryle