Orlando, Transfiguration

Lance Hewison

    • 24 x 36 inches
    • © 2013
    • Oil on Vellum
    • Framed to 27 x 39 inches
  • Inspired by Virginia Woolf's character, Orlando from "Orlando: A Biography"

    Orlando: A Biography is an influential novel by Virginia Woolf, first published on 11 October 1928. A semi-biographical novel based in part on the life of Woolf's lover Vita Sackville-West, it is generally considered one of Woolf's most accessible novels. The novel has been influential stylistically, and is considered important in literature generally, and particularly in the history of women's writing and gender studies.

    "Twisting copious incongruous strands, then, this elegant fictional portrait gives us the Lord Orlando: proto Emopoet prince; the beautiful, sensitive, brave, lonely, saucy, questing, spaniel-loving toff, with a house the size of a town and a family with exotic as well as indigenous branches to its tree; the romantic who carries in his/her breast through four centuries the life-stained manuscript of his/her one great poem, “The Oak Tree”."

    -Tilda Swinton (who played the gender-shifting Orlando in Sally Potter's 1992 film of the same name)

    "We may take advantage of this pause in the narrative to make certain statements. Orlando had become a woman--there is no denying it. But in every other respect, Orlando remained precisely as he had been."

    -Virginia Woolf, "Orlando"
  • Lance Hewison (b. 1982) lives in San Francisco, CA. He graduated Bachelor of Fine Arts from Academy of Art University, and studied painting and printmaking in Italy in 2009. He is now an instructor at Academy of Art University. Lance is represented by John Pence Gallery in San Francisco, and exhibits internationally with The Art Collective in London.

    Lance works on large canvases and panels, and utilizes oil, acrylic, encasutic, and various printmaking techniques. The compositions typically feature single or multiple figures set within stark or abstracted environments. The artist portrays a variety of figures including historical men and women, mythological archetypes, self portraiture, and people close to him. A sense of movement is stressed using loose, expressive brushwork. Depicting the specific likeness of a figure is not what he is after. Instead, he is more concerned with capturing the mysterious energy people eminate.

    "The various roles we play as human beings are often more mercurial than we might suspect. At times, they’ll suddenly slip away to reveal the unexpected. Moments like these hold great fascination for me."
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