Sian Storey is, with total denial of my own flattery or exaggeration, possibly the single most inspirational artist I have studied, and had the pleasure to not only meet, but to be taught by for the two years of my Fine Art GCSE. I will admit to some cynicism when it comes to teachers of art (especially those in secondary schools, attempting to teach something that, questionably, can’t be taught, to mostly unwilling students, many of who see Art as a doss. I mean, teaching it must suck the fun out of it). But, from just the sight of her classroom, covered from floor to ceiling in paint, pattern and colour (including, admittedly, a number of my own painted handprints) it is clear just how creative, expressive, and inspired Sian is.

Her work is centred around the female figure, her varying portraits expressing a style that is psychedelic and graphic, and at other times rich, deep and dreamy, a diversity that is sometimes difficult to find in modern artists. Though at times her portraits appear silky and surreal, her attention to detail portrays a depth of skill that is, again, not often portrayed by modern artists attempting to capture a dreamy, uncertain sense of colour and brushstroke. This detail can be seen in the use of symbolism, her paintings often involving floral suggestions, birds, butterflies and fruit, connoting themes linking to the female figures she portrays; fertility, purity, innocence, sensuality, freedom, beauty and passion, as well as her ever expressive, wide eyes, giving such individuality and emotion to her portraits.

Her self-portrait is reminiscent in pose and composition to a social network Profile-photo, suggestive of the captured identity by those portrayed through the internet as no more than a face, connoting vanity, but maybe, with such a darkened, exposed tone, more portraying of vulnerability and insecurity, a subtlety of tone and expression that go far beyond the usual beautiful portrayal of the female form that at times Sian appears to display in her work, but at times appears to contradict and question. Possibly my favourite of all her pieces is ‘You know that I’m no good’ which you will no doubt recognise in the pictures below as a portrait of Amy Winehouse, from the detail of the eyes, the twirls of the hair, the deep crimson of the background and the almost tear-like drips from the eye-makeup and the deep, darkened lips, trailing across the pale, smooth skin of the infamous face that is portrayed, undeniably, beautifully, and innocently, a face that is, though beautiful, surrounded by darkness.

This subtlety of meaning Sian appears to portray (which, as always, I am more than likely reading far more into) again expands on the subjectivity of art, and makes her portraits so much more fascinating, even beyond her beautiful use of colour and brushstroke, and the richness of her detail and apparent symbolism, and is, no doubt, the main reason I find her to be one of the most inspirational artists I have ever seen. Her bright, open, creative personality is a reflection of the beauty of her art, and for such a promising artist to be sharing her passion through teaching, I cannot thank her enough.

Please visit Sian’s site for even more, at http://www.sianstorey.com/index.htm