Artist Profile - Matt Sayers
The Soup Girls
Medium: Oil on Canvas
Measurements: 69 x 59 cm Framed
Year: 2019
Price: £695 Plus Delivery
Solitude
Medium: Oil on Canvas Board
Measurements: 78 x 78cm
Year: 2020
Price: Sold please ask about alternative pieces
Matt Sayers
Field of Dreams
Medium: Oil on Canvas Board
Measurements: 64 x 54cm
Year: 2020
Price: £750 Plus Delivery
The View From Here
Medium: Oil on Board
Measurements: 47 x 41cm framed
Year: 2019
Price: £495 Plus Delivery
Catching Bubbles
Medium: Oil on Canvas Board
Measurements: 78 x 78cm
Year: 2020
Price: £1195 Plus Delivery
Pumpkin Picking
Medium: Oil on Box Canvas
Measurements: 48.5 x 98.5cm
Year: 2020
Price: Sold
Young Mods
Medium: Oil on Canvas Board
Measurements: 64 x 84cm
Year: 2020
Price: £995 Plus Delivery
Higher
Medium: Oil on Canvas Board
Measurements: 78 x 78cm
Year: 2020
Price: £1195 Plus Delivery
Out for a Swift Half
Medium: Oil on Board
Measurements: 69 x 59cm Framed
Price: SOLD
The Boys Are Back In Town
Medium: Oil on Canvas Board
Measurements: 61 x 51cm
Year: 2020
Price: £750 Plus Delivery
Flying High
Medium: Oil on Canvas
Measurements: 78 x 78 cm Framed
Year: 2019
Price: Sold
The Soup Girls
Medium: Oil on Canvas
Measurements: 69 x 59 cm Framed
Year: 2019
Price: £695 Plus Delivery
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Biography
Matt is 35 years old, and lives with his wife Ann and dog Rosie in Staffordshire.
You can view his latest works online at our 360degree Greenstage Autumn Exhibition Tour
Artist Statement
My love for art came from watching my Dad draw pictures for
me as a boy. I remember thinking how good it would be to see something I liked
and to be able to draw it so in the future I could remember what it looked like
then. Little did I know at the time just how important that would be, not just
for me but to many other people too as the familiar sights they grew up with
gradually disappeared forever.
During my school years, art was the only subject I was
really interested in and are probably the only lessons I can still remember
like they happened yesterday. I spent much of my childhood in Plymouth where I
understood early on about strong community spirit, I was lucky to move to
Cannock in Staffordshire at the age of 14 where that sense of community still
held. My formative years were therefore spent in the old mining town, at a time
of great emotion in the last days of the mines.
I love to paint as much as possible, when I see something
interesting on my travels I can't wait to jump straight into my small studio
'the old coal shed' early the next morning, and paint until my wife tells me
lights out.
My original influence were the works of LS Lowry, as I felt
I understood his own inspirations and often imagined myself as one of the
characters in his paintings. In the last
10 years my love of old cars & buses, terraced houses, smokey chimney tops
and the hard working people who make up the character rich streets of working class Britain have become
the inspirations behind my own collections. Where the buildings or objects
recalled by those people are long gone, I research my paintings thoroughly
using old images contained in books from local libraries.
I like to listen to music during the painting stage
something acoustic at the start to keep things calm and peaceful and then a
varied mix during the whole process. I have a basic technique which starts by
covering the entire canvas with paint to get rid of the white, and depending
upon the mood I want to create I add in a few clouds followed by a faint
horizon which I then play with to get the right atomshpere for the image I have
in my head. After a 'cup of coffee head break' I then layout on the canvas my
current street scene up to the point where I am happy to leave the painting
till the next day. I tend to find myself back in the studio before the nights
out reviewing the days work and letting my ever supportive wife cast her eye
over the piece, whom provides a few observations and thoughts which can
sometimes spark a new angle to the finished piece.
Once I have completed the piece, I walk away from it for a
few days and then return to cast my refreshed eyes over it, imagining myself
standing in that scene so I can add or amend anything that's not quite right or
infact 'missing’.