The cracks in a cup, the crease on a page, the irregular petal of an otherwise perfect flower: it’s these insignificant details that catch the eye of the still life artist Ian Mastin.
Not only do they draw his attention, they capture his imagination, inspiring a desire to craft a permanent visual record of their existence. Utterly breathtaking and unbelievably real, art collectors from around the globe have been following Ian’s work for the past three decades.
Ian takes realism to a whole new level, from the tiniest fleck on a pear skin to the grain on a length of wood. “I’m drawn to objects that have a story, a history, and which bear the imprint of humanity upon them,” Ian says. “From an old, unlatched fishing creel, with fishing flies resting next to a favourite bottle of single malt, to a pile of tattered, leather-bound books, so loved that their spines are cracking and their pages feathered.”
“When I begin a new painting, attention to detail in the set-up stage is crucial,” he adds. “And it’s not unusual for me to spend hours getting it just right, long before I’m ready to pick up a brush. The goal is to achieve balance between the subjects, the colour and tone, the combinations of textures and how the light and shadows play out.
“I’m seeking an overall feel – a sense of authenticity which is difficult to articulate, but I know it when I see it. This ‘je ne sais quoi’, the thing that ultimately ties it all together is often found in an insignificant flaw or blemish on one or more of the items. The irony is that in seeking perfection, it is often the inclusion of imperfection that brings it to life.”
Entirely self-taught, Ian first picked up a paintbrush at the age of 40 after receiving a set of watercolours from his wife Eleanor one Christmas. While he had long dabbled with charcoal sketching as a way of winding down at the end of the day, it was this gift which was to alter his life’s trajectory forever.
Ian and Eleanor were living in the UK at the time and had taken over the lease on a small café in Scotland. Ian recalls he would enjoy photographing the beautiful landscape at every opportunity, then use these photos to produce simple watercolours.
When he began displaying them in the cafe, he was delighted to discover the locals were keen to buy them. The real turning point however, was the day he walked into an Edinburgh gallery and saw an exhibition of exquisitely executed acrylic still life paintings on the walls. He was instantly hooked. He knew he had found his métier. Within a week Ian had gleaned everything he could about traditional still life art and painting in acrylics from the local libraries. He has never looked back. Thirty years later, acrylic remains his preferred medium and still life in the traditional style his passion.
Admitting he is a perfectionist, Ian says that he has learned to temper his self-criticism. “In my earlier days, when I was routinely painting 80-hour weeks, I would never get to the point where I felt completely satisfied because I became too engrossed with the minutiae of the detail. I’ve since learned that if I set a painting aside for a while, then make a point of casually glancing at it, I can invariably identify what final touches are needed to bring it all to life. While I don’t work anything like those hours now, I’ll admit I still struggle with self-doubt. I think all artists probably do.”
Inspired by his favourite artists of the Golden Age, including 1600s Dutch painter Johannes Vermeer, of Girl with a Pearl Earring fame, Ian’s fondness of antiques and personal treasures is stronger than ever and evident in his subject choices. He recalls the many years when he would travel to the UK to supply his galleries there with new works, departing Australia with a suitcase full of paintings and returning a few weeks later with it crammed with antiques and new ‘treasures’ to use in future compositions.
“Everyday objects are particularly interesting to me – and not those that are perfect, standard, mass-produced. While genuine antiques can be wonderful and a joy to work with, more often it is a humble, everyday, well-worn item that finds a niche in my creations. Over the years I have stumbled upon a multitude of charming and unusual objects on the shelves of my local Vinnie’s or Lifeline. Lifeline’s annual Bookfest is a favourite trove, a veritable goldmine for a book-loving still life artist as myself. Within each object, I sense a story just waiting for me to communicate it to the world with my brush.”
As one who has been painting for over three decades, Ian says the advent of the internet was a game changer. “When I began in 1991, my only sources of information were from libraries, museums, galleries and books. Now we have access to countless objects viewable from every angle. We can read the detailed history of any artist or art movement and view the full catalogue of their works, as well as watch endless art tutorials online.
“Undoubtably however, AI will be the next big thing for artists. I often wonder about the effects it will have on the future of the art world, and sense its impact will be profound.”
Ian and Eleanor are no strangers to change, having not only lived in the United Kingdom but recently relocating from Woodgate Beach to the Sunshine Coast to be near their daughter. “We have only been here a few months, and I’m still adjusting to my new studio, which is very different from my old one in size, set-up and lighting conditions. I’m beginning to settle into a new rhythm and am very much looking forward to losing myself in my artwork once more.”
Ian’s work has gained an avid international following and he regularly ships new and commissioned pieces around the world. Locally, Ian’s paintings are a permanent feature at the popular Montville Gallery. Until recently, he produced only original works. However, after multiple requests, Ian launched a collection of prints, teaming up with Australia’s top reproduction specialist. These prints can be found on his website, along with a selection of his early watercolours.
“It’s always been a great motivator to know that a painting will hang on someone’s wall and bring them joy. It’s humbling too, when I hear from people that my art has moved, fascinated or delighted them,” he says.
“To complete a piece that I’m pleased with is satisfying in itself, but to have recognition from others adds a whole other sense of fulfilment.”
View Ian’s work at Montville Gallery or visit ianmastin.com