Paper

Student Artwork Guide

Stare

Name Class Date

Shani Rhys James, Stare (1997), Arts Council Collection. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Shani Rhys James originaluniqueart.com/en/artists/shani-rhys-james/
Artist’s dates
1953 –
Painted
1997
Original size
30 x 28 cm
Held at
Arts Council Collection originaluniqueart.com/en/museums/arts-council-collection-london/

In context

Stare — Shani Rhys James

How big is it?

The original measures 30 × 28 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990
  6. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span, counting 0 from birth.

Painted when the artist was 44. 9 of the 25 dated works by this artist in our catalogue came earlier.

▲ this work, 1997 every dated painting, decade by decade

Compare with

  • The Collector, 1994 originaluniqueart.com/en/art/shani-rhys-james-the-collector-AQVE6X-en/
  • Night Kitchen I originaluniqueart.com/en/art/shani-rhys-james-night-kitchen-i-AQVE87-en/
  • Stairs II, 1997 originaluniqueart.com/en/art/shani-rhys-james-stairs-ii-AQVE77-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/shani-rhys-james-stare-AQVE7D-en/

Colours

Measured from the image

    Main colour

    Rosy Brown #b18f74

    Catalogued palette

    • #B18F74
    • #92583D
    • #D5C9AC
    • #4E3528

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Rosy Brown
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Shani Rhys James over the last twelve months — 3 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 77.8%700 visits
    2. 2 Australia 11.1%100 visits
    3. 3 United Kingdom 11.1%100 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 8 most looked-at works by Shani Rhys James

    1. 1 The Collector, 1994 22.2%200 visits
    2. 2 Stare, 1997 this painting 11.1%100 visits
    3. 3 Chicken Coop II, 1998 11.1%100 visits
    4. 4 Shadows, 1996 11.1%100 visits
    5. 5 Head III, 2004 11.1%100 visits
    6. 6 Direct Gaze I, 1997 11.1%100 visits
    7. 7 Overall, 1993 11.1%100 visits
    8. 8 The Mirror, 1994 11.1%100 visits

    Together these works take 99.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 27 works by this artist, of which 8 were looked at at least once. This painting ranks 2 of them, with 11.1% of that attention (100 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Shani Rhys James

    A Life Painted in Emotion: The World of Shani Rhys James

    Shani Rhys James, born in Melbourne, Australia in 1953 to a Welsh surgeon father and an Australian artist mother, is a painter whose work resonates with a deeply personal yet universally understood emotionality. Her journey began not in the studio but in transit; moving to England with her mother at the age of nine after her parents’ separation, she embarked on a formative period hitchhiking across Europe, absorbing the masterpieces of Western art firsthand. This early exposure, coupled with a childhood marked by illness – a bout of thrombocytopenia that forced periods of quiet contemplation – laid the groundwork for an artistic practice centered around introspection and the power of imaginative play. Though her mother initially discouraged formal art training, believing true artistry blossomed outside institutional walls, Rhys James pursued studies at Loughborough School of Art and St Martin’s School of Art in London, earning a BA in Painting in 1976. This education provided technical skill but did little to quell the artist's inherent desire to forge her own path, one that would prioritize psychological depth over stylistic conformity.

    From Whitechapel to the Welsh Landscape

    The early years following art school saw Rhys James navigating the London art scene, establishing a studio in Butlers Wharf near Tower Bridge. However, it was the move to rural Powys, Wales, in 1984 with her husband and young family that proved pivotal. Transforming derelict barns into working spaces, she embraced a life immersed in nature and memory. This relocation wasn’t merely a change of scenery; it was a return to roots – a connection to her father's Welsh heritage – and a catalyst for the development of her signature style. The isolation and quietude of the Welsh landscape allowed Rhys James to delve deeper into her own psyche, exploring themes of identity, femininity, and domesticity with an unflinching honesty that would soon garner critical acclaim. Her work began to reflect the textures of this new environment, infused with a sense of melancholy and a vibrant, almost restless energy.

    The Language of Interiors: Symbolism and Technique

    Rhys James’s paintings are instantly recognizable for their bold use of color, dramatic compositions, and recurring motifs. She is perhaps best known for her self-portraits – unflinching depictions that reveal not just physical likeness but also a profound psychological state. When she isn't painting herself, her canvases are populated by women inhabiting richly detailed interiors filled with crockery, furniture, wallpaper, and, most notably, extravagant arrangements of flowers. These aren’t simply still lifes; they are symbolic landscapes brimming with meaning. The jugs, plates, and domestic objects represent the constraints and expectations placed upon women, while the flowers – often described as “riotously spiky” – embody both beauty and fragility, life and decay. Her technique is characterized by a vigorous application of paint, a deliberate lack of restraint that creates a sense of immediacy and emotional intensity. Michael Glover aptly describes her work as "gulping at colour," noting the "mad, wild and thuggish" quality born from its unrestrained glee. This physicality isn’t accidental; it's an expression of the artist’s own internal struggles and a refusal to shy away from difficult emotions.

    Recognition and Legacy: A Key Figure in Contemporary British Art

    Throughout the 1990s, Rhys James exhibited extensively across Wales and beyond, gaining recognition for her unique voice and compelling vision. She received numerous awards, including the Gold Medal for Fine Art at the National Eisteddfod in 1992, the Jerwood Painting Prize in 2003, and was appointed a Member of the Order of the British Empire (MBE) in 2006 for services to Welsh art. Her work is held in major public collections including the National Museum of Wales and Columbia University, New York, solidifying her position as one of Wales’s most significant living artists. She has been described as “arguably one of the most exciting and successful painters of her generation”. Beyond awards and accolades, Rhys James's legacy lies in her ability to connect with viewers on a deeply emotional level. Her paintings are not merely representations of reality; they are explorations of the human condition, offering a powerful commentary on identity, vulnerability, and the complexities of female experience.

    Continuing Evolution: Automata, Poetry, and Self-Island

    Rhys James’s artistic exploration hasn't been confined to painting alone. A Creative Wales award in 2006 enabled her to realize a long-held ambition to create sculptural automata – kinetic and sound-based versions of childhood memories of the theatre her parents ran in Australia. This foray into three-dimensional work demonstrated her willingness to push boundaries and experiment with new mediums. Further awards led to Florilingua, an installation combining paint, sound, and video in collaboration with contemporary poets, showcasing a continued interest in interdisciplinary approaches. Even during periods of isolation – such as the Covid-19 lockdown – Rhys James remained prolific, producing work that reflected her inner world. Her 2021 exhibition at Connaught Brown, Hunan-Ynysu: Self Island, offered a poignant glimpse into this period of introspection, further cementing her reputation as an artist who fearlessly confronts the challenges and complexities of life through the transformative power of art. Her work continues to evolve, driven by a relentless curiosity and a commitment to exploring the depths of human emotion.

    Museum

    Arts Council Collection

    On show in London, United Kingdom

    A Living Legacy: The Pulse of British Creativity

    To encounter the

    Arts Council Collection

    is to step into a vibrant, breathing narrative of British artistic evolution. Unlike traditional institutions that confine masterpieces within the silent, static halls of a fortress-like museum, this collection operates as a "museum without walls." Founded in 1946 amidst the transformative shadows of post-war austerity, it was conceived not merely as a repository for aesthetic contemplation, but as an active conduit of cultural vitality. Its very essence lies in its movement; it is a curated circulation of inspiration that breathes life into universities, hospitals, and public buildings across the United Kingdom. This democratic approach ensures that exceptional art is never sequestered away from the public eye, but instead becomes an integral part of the communal landscape, fostering a deep-seated appreciation for the creative spirit that defines the nation.

    The collection’s historical journey is one of profound growth and intentionality. What began as a modest inheritance of paintings bequeathed by earlier councils has blossomed into a monumental holding of nearly 8,000 works by over 2,000 artists. This vast archive serves as a chronicle of the twentieth and twenty-first centuries, capturing the shifts in societal values and the radical transformations in visual language. For the collector or the art enthusiast, the collection offers an unparalleled window into the soul of British modernism, tracing the lineage from the visceral, psychological depths of

    Francis Bacon

    to the luminous, sun-drenched landscapes of

    David Hockney

    . It is a place where the monumental weight of

    Henry Moore’s

    sculptures meets the unflinching, textured intimacy of

    Lucian Freud’s

    portraits, creating a dialogue between form and emotion that transcends time.

    Innovation and the Contemporary Vanguard

    What truly distinguishes the Arts Council Collection is its fearless embrace of the contemporary and the emerging. It does not merely look backward with nostalgia; it actively shapes the future of art through visionary initiatives like the

    Frieze Acquisition Fund

    . By empowering curators to procure groundbreaking works from the prestigious Frieze London art fair, the collection ensures that the voices of the next generation are woven into the permanent fabric of British heritage. This commitment to innovation means that visitors—and those inspired by its works for interior curation—are always encountering the cutting edge of sculpture, photography, video, and installation. The collection thrives on tension and discovery, often presenting challenging or controversial pieces that provoke thought and ignite debate.

    Beyond its physical holdings, the institution’s impact is amplified through a sophisticated program of touring exhibitions and global partnerships. Through collaborations with entities such as the

    Coventry Biennial

    , the collection explores themes of urban identity and community outreach, bringing curated excellence to regional galleries far beyond the central hubs of London. This spirit of accessibility is further extended into the digital realm via the

    Google Arts & Culture

    partnership, allowing a global audience to wander through its treasures from any corner of the world. For the interior designer seeking to evoke a sense of sophisticated modernism or the scholar tracing the threads of artistic lineage, the Arts Council Collection remains an inexhaustible source of profound beauty and intellectual rigor.

    Where to read more

    Find this online

    QR code linking to the download page for Stare

    originaluniqueart.com/en/art/download/shani-rhys-james-stare-AQVE7D-en/

    Cite this artwork

    MLA
    James, Shani Rhys. Stare. 1997, Arts Council Collection. https://originaluniqueart.com/en/art/shani-rhys-james-stare-AQVE7D-en/
    APA
    James, Shani Rhys (1997). Stare [Painting]. Arts Council Collection. https://originaluniqueart.com/en/art/shani-rhys-james-stare-AQVE7D-en/
    Chicago
    Shani Rhys James. Stare. 1997. Arts Council Collection. https://originaluniqueart.com/en/art/shani-rhys-james-stare-AQVE7D-en/
    Harvard
    James, Shani Rhys (1997) Stare. Arts Council Collection. Available at: https://originaluniqueart.com/en/art/shani-rhys-james-stare-AQVE7D-en/

    Look closely

    Stare — Shani Rhys James

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at The Collector (1994), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. Shani Rhys James was about 44 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    What are the author and date of "Stare"?

    Shani Rhys James made "Stare" in 1997.

    What color leads the composition of "Stare" by Shani Rhys James?

    The color that stands out most in "Stare" is rosy brown (#b18f74). The dominant color is useful when matching an artwork to an interior.

    Is Shani Rhys James, creator of "Stare", known under other names?

    Other names recorded for Shani Rhys James, creator of "Stare", include Shani Rhys James Mbe, Shani Rhys James (Born 1953).