Anthony Stephens
Melbourne-based artist Anthony Stephens paints hyperrealistic portraits, which capture impromptu feelings of introspection.
Words: Holly Terry | Photography: Annika Kafcaloudis
‘I’m completely self-taught. I’ve followed a twisting path to land where I’m at with painting. I find that I jump around in creative fields regularly, and I blame my poor attention span for that,’ says Anthony Stephens. Photo: Annika Kafcaloudis
Anthony Stephens’ paintings could be mistaken for photographs, thanks to their expert use of shadow and light. Photo: Annika Kafcaloudis
‘The technical process is so tightly controlled that I find myself often drawing on my notes from the shoot to help capture the feeling of the sitter. That’s the most important part,’ says Anthony Stephens. Photo: Annika Kafcaloudis
Melbourne-based artist Anthony Stephens has always been creative but is relatively new to the practice of painting, which was suggested to the artist by a psychologist as a form of therapy.
Captivatingly hyperrealistic, Anthony’s paintings could be mistaken for photographs, thanks to their expert use of shadow and light. A graphic designer by day, the maker can attribute an incredible attention to detail to his refined process, which has come about following years of photographing people on the street.
‘The images that I captured felt raw, unplanned, and because the figures were unaware that they were being photographed, the expressions were much more natural, and eye-contact was minimal. This impromptu feeling of introspection is something that I actively try to capture in my painting,’ says Anthony.
When he began painting, Anthony would skip out sketching entirely and paint his sitters directly from life. Although hard to believe looking at his more recent work, he describes his initial paintings as loose and muddy, before he began to figure out techniques to refine his technique.
‘Sometimes things just worked perfectly, sometimes the paintings were so poor I’d throw them out,’ he says. These days, he is most conscious about the complex shadows caused by ambient, light bounce, occlusion and transmission, an understanding he has developed since becoming interested in 3D modelling during the multiple Melbourne lockdowns. For the maker, these shadow shapes act as this kind of “secret sauce” to his incredibly life-like works.
‘Every time I step back from a finished canvas/object I feel a weird sense of wonder (not-so-much pride) that I just produced what’s in front of me,’ says Anthony Stephens. Photo: Annika Kafcaloudis
Anthony Stephens’ incredibly life-like paintings in progress. Photo: Annika Kafcaloudis
“I think I was expecting to live a life of relative comfort: not pushing boundaries or taking risks. Painting is a risk – it’s risky financially, I risk offending people with my content and concepts. I’m proud every day I pick up a brush, put the time in the studio, and mostly I’m proud every time I finish a painting.”
‘I think creativity has always been there- my mum probably wouldn’t credit herself with being the most creative person, but she brought us up drawing and making models and reading fantasy books,’ says Anthony Stephens. Photo: Annika Kafcaloudis
Anthony Stephens’ incredibly life-like paintings in progress. Photo: Annika Kafcaloudis
Primarily painting portraiture, Anthony’s “sitters” form the basis of his works. Extending beyond painting from captured images, he often finds himself drawing upon notes from the session to recreate the feeling of the sitter.
Whether old friends, new acquaintances or family, all of them mean a great deal to the painter. ‘They’ve given up their time and shown belief in me – they’ve trusted me to show respect, and to present them in whatever way we have agreed to prior to shooting. I’m very aware of the privileged position I’m in that so many people give me their trust.
Often drawing upon books as inspiration, the artist’s most recent work has been informed by a Thames and Hudson book, Catholica, which details religious art throughout the years. As a self-proclaimed “staunch” atheist and former Catholic, Anthony explains, ‘There is so much beauty to be found in religious art, so co-opting that figurative, traditional style and re-framing it using sitters/bodies that might be seen by some in the church as “undesirable” is a really nice and satisfying “f**k you” [to the institution, not the church-goers!].”
It's a big year for the artist, with an upcoming exhibition titled Catharsis at Oigåll Projects on Gertrude Street, Melbourne, opening on August 4th. Catharsis will be the first time Anthony will be exhibiting his works publicly, ‘It’s terrifying, exhilarating, and unbelievable. The owners are ridiculously supportive and beautiful people who have helped me to develop as an artist and come out of my shell.’
