Christopher Stout | Portraits of Narcissism, 2000

1. Christopher Stout. Orange Portrait, 1999. 45”x28”: oil and acrylic on canvas. “Portraits of Narcissism,” 2000: Moulton Studios.

2. Christopher Stout. Shame I Love Thee, 1998. 66”x54”: oil and acrylic on canvas. “Portraits of Narcissism,” 2000: Moulton Studios.

3. Christopher Stout. Love I Shame Thee, 1998. 66”x54”: oil and acrylic on canvas. “Portraits of Narcissism,” 2000: Moulton Studios.

4. Christopher Stout. Blue Portrait, 1999. 42”x32”: oil and acrylic on canvas. “Portraits of Narcissism,” 2000: Moulton Studios.

Artist Notes:

Portraits of Narcissism Exhibition Artist Statement:
Rather than emblematic of a specific style propensity (confinement of a label), these thirteen abstract figurative paintings have been specifically chosen for their autobiographical disclosure. In as much as each of these paintings individually, or included in a set, are meant as a documentation of any relationship, unfulfilled expectation, or life-situation, the true synapse that binds these together is the collective four years of soul-discovery that is culminated in this my first solo exhibition.
In general, these works are incepted with the artist's premise that resulting from the evolution of modernity/feminism, standards for human perfection have been significantly raised in that both sexes are being consistently subjected to the challenge of a heightened definition of role. While at one point in history, there was a marked distinction in gender function, the sexes are now broadening in definition so that while retaining traits inherent to the established definition, men and women are now struggling to pioneer skills of the others definition while retaining the mastery of their traditional role.
The personal application of said premise is demonstrated specifically in these paintings with the artist grappling to establish his own volatile definition of the concept of his own masculinity; i.e., self-pressure to seek out and celebrate, youth, health, athleticism, body fat/muscle ratio, sexuality, aestheticism, while at the same time, measuring himself in traditional arch-types of academic achievement, career goals, intelligence, tax-bracket, etc.
Notwithstanding the limitation of time, the greater oxymoron of process is that the same set of stipulates (age, wisdom, tenure, knowledge) that incites stature in one set of ideals automatically clashes with the frustration of trying to develop at the same time fashion currency, urban savvy, and creatine monohydrate-infused biceps.
The painting subject then becomes the end product of the artist, whose resolution to achieve standing in all categories, and simultaneous failure from over-extension results in monstrosity. These nine pieces are a synthesized desire to glean exposure to a more realistic working-model (hybrid) of beauty not premised in idealistic utopia, but spun in an alchemy of the delicate layering of pain of life's lessons existing in the dancing polarities: the aim whose contrasts entice through virtue of strangely incepted cohesion, a mythical rhythmic movement of eerie entrenchment; unfolding contrived elements, layered discord, burning, infrared, promoting genesis and cancer.