Hole in One
Ian Mastin
“It was in the 1980s while living in Brisbane, that I first began to sketch in pencil and graphite. It was purely recreational and my way of winding down after a long day. As I'd only get the opportunity of a few hours each week, large works would take me the best part of a year to complete.”
It wasn't until he was living in Edinburgh, Scotland (1990s) that Ian first picked up a paintbrush. By now, aged 40, Ian's wife presented him with a set of watercolours for Christmas. Ian's early works were mainly watercolour and the subject matter varied, but it was his discovery of still life in the traditional style that gave him the direction he had been seeking and the passion to pursue his artistic goal of excellence in this genre.
“I was fortunate that when I first started to paint full-time, it was only a couple of years before I discovered the genre of work that inspired me utterly - Still Life in the traditional form. My first encounter with it was an exhibition in an Edinburgh gallery. Up to that time I'd only been working in watercolours, and I was utterly transfixed by this new style. I sensed instant resonance and knew I'd found my new direction. Admittedly, my first efforts were not what you see today https://www.ianmastin.com/early-works however I saw enough of a spark to give me the encouragement and motivation to continue. I began to see real improvement fairly quickly and within a few weeks I was submitting pieces to Edinburgh galleries which were accepted - and sold.”
Ian's work is clearly influenced by Dutch and Flemish Masters of the 17th Century, although the timeless quality of his work is neither bound by tradition nor convention. He remains resolutely unmoved by popular trends and says:
“If crafted well, the simplest of subjects have the potential to arrest and delight. I’m particularly attracted to the old, worn and often imperfect or repaired items. For me, the wear, tear and scars of old hand-crafted items reveal a fascinating unspoken background story, real or imagined, and it is this aspect that inspires me the most. It’s the same with selecting fruit. Whenever I'm looking for organic items to paint, I much prefer roadside stalls or farmer’s markets to supermarkets because the first things that attract me to a piece of fruit or veg are any misshapen, gnarled imperfections or over ripeness. To me, this symbolises life, which is just as precious in our struggles and imperfections as in our pomp and ease.’
In his 30-year painting career, Ian has never undergone any formal training - he is entirely self-taught. His detailed, painstakingly crafted paintings are the result of keen observation, countless hours honing his skills and perfecting technique, together with the application of much discipline and dedication. Perhaps not surprisingly, Ian's artwork has built an enthusiastic following across the UK, Europe, the US and Australia. It is regularly featured in international Art Fairs, including London, New York, Amsterdam, Hong Kong and Singapore. His paintings can be found in many private collections all around the world.
In 2001, Ian and his wife left the UK and returned to Queensland where he continues his love affair with art in an idyllic little community on the East coast called Woodgate Beach.
IAN MASTIN FINE ART
www.ianmastin.com
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The Grand Tome ~ The Artist in His Studio
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