Miriam Escofet RP

Statement

I have explored many ideas and subject matter in my work, but the unifying passion in all my paintings is describing a sense of space, volume, atmosphere and detail, arriving at a kind of hyper real expression of the subject matter.

These same pictorial concerns govern when I am engaged in a portrait, of course the likeness and character of the sitter must come first, but I am as interested in the spatial and psychological depth in the work, as well as an aesthetically successful composition.

My work is very classically inspired and the journey to a painting can be very multi-disciplinary; often involving the construction of props or elaborate maquettes and the use of complex perspective.

I paint mainly in oils, my technique is extremely detailed, applying many layers and glazes to achieve a sense of space and mood. I keep working at a piece until I feel that I have arrived at an expression of palpable space

Methodology

I have arrived at portraiture after many years of painting varied subject matter; working from life, from photographic references and from imagination. I aim for spatial and psychological depth in my portraits, as well as an aesthetically successful composition.

I can work from sittings or from photographs, ideally a combination of both.

For practical reasons I take many photographic references as the level of detail and technique which I use means I spend months on every canvas, so it would be unrealistic to expect that time commitment form the sitter.

The first step in a portrait commission is a discussion of ideas with the sitter. I will make sketches and take photographs. I like doing this in the sitter’s home as it offers a further insight into their character and allows for the inclusion of personal objects in the composition. From this initial material I will work out a composition for the portrait and prepare a drawing for the client’s approval.

Once the composition is agreed I paint the portrait with as many sittings as the subject can grant.

It takes a few months to complete a painting.

With drawings and mixed media pieces the process is less time consuming and it is more realistic to work entirely from sittings. Although I always take photographic references as they allow me to explore compositional ideas and detail in a way that can not be achieved during a sitting.

Scholarships, Awards, Prizes

  • John Godfrey CBE, High Sheriff of Lincolnshire

  • Christos Lazari, Lazari Investments

  • Her Majesty Queen Elizabeth II, for the Foreign Commonwealth and Development Office

Notable Sitters: 

  • Professor Sir Mark Welland, Master of St Catharine’s College, Cambridge

  • Her Majesty Queen Elizabeth II, for the Foreign Commonwealth and Development Office

  • Christos Lazari, Lazari Investments

  • John Godfrey CBE, High Sheriff of Lincolnshire

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