Stewart Swan is the Glaswegian artist behind 'Zep Tepi', his second solo show with RHODES. Following on from the success of his debut, 'Square Go', Swan's newest artwork collection shows a development in style, form, colour, and narrative. He is known for his animal-human hybrid characters which portray a depth of emotion inspired by, in his words, his Glasgwegian upbringing. Below, Swan tells us more about his artistic developments, and the meaning behind 'Zep Tepi'.
Comparing your last exhibition, ‘Square Go’, with ‘Zep Tepi’, what do you think has most influenced the changes seen in your artworks?
I think the changes in my work are part of a natural progression in my artistic practice, influenced by personal evolution, deep dives into mythology, and a desire to explore different narrative layers within my art. Each exhibition represents a step forward in this journey of creative expression.
Your figures often appear against flat, vibrant backgrounds. How do you decide which colours to use?
Ultimately, the colour decisions I make are intuitive, but they are also heavily influenced by what I want the viewer to feel in relation to the subject. The colour palette for each piece is decided before I start painting, and it’s really important that the colours work in harmony with the figure to make the whole piece feel cohesive. The flatness of the colour in the background contrasts with the more textured, rendered areas of the figures, helping them stand out and giving the painting more depth. The background isn’t just there—it reflects the figure’s emotions or deeper ideas, helping guide the viewer’s experience.
How has working with multiple figures in pieces like ‘Farm to Table Strategists’ compared to your solo-character works from your last exhibition ‘Square Go’?
The shift from working with solo figures in ‘Square Go’ to incorporating multiple figures in my recent paintings has been a significant evolution in both approach and narrative. In ‘Square Go’, the focus was very much on the individual—isolated, intense, and often dealing with personal conflict or internal exploration. The singularity of each figure allowed me to hone in on the complexities of individual identity and emotional depth, inviting the viewer to engage with the figure's solitude or struggle in a very intimate way. The backgrounds, with their bold, vibrant colours, often reinforced this isolation, making the figure almost confrontational in its prominence.
In contrast, working with multiple figures in some of my recent pieces has opened up a broader, more relational space. The challenge has been creating a dynamic between the figures—how they interact, coexist, or even subtly influence each other within the same space. It's no longer just about individual identity, but about collective energy, shared space, and the tensions or harmonies that emerge when figures come together. The relationships between them become as important as the figures themselves. The background also plays a larger role now, serving as a space that ties the figures together, rather than isolating them.
The shift from solo to multiple figures has been exciting in many ways, allowing me to explore themes of connection, conflict, and coexistence on a larger scale. There’s also a more fluid, narrative aspect to these works—each figure can tell a part of the story, but the full picture emerges when they are seen together. This transition has definitely influenced the way I approach composition, colour, and the emotional tone of the work, adding layers of complexity that were less central in the singular-focused works of ‘Square Go’.
Smoking appears in all your full-body pieces. What does it symbolise for your characters?
Smoking has almost subconsciously become a signature in my paintings, representing moments of reflection, distance, or inner struggle. It’s a way to show what the character’s feeling—whether they’re trying to escape, rebel, or just face their own vulnerability. On another level, smoking often touches on themes of self-destruction or existential awareness. It’s something that pops up often in my work, drawing the viewer into the character’s inner world and adding to the overall mood and atmosphere.
Most importantly though, it also acts as a compositional device, leading the viewer into the painting via the trail of smoke around the figure and then guiding their eye back out again, helping to create a more dynamic flow.
The portraits from last year’s ‘Square Go’ exhibition featured a much lighter use of colour compared to similar works from’ Zep Tepi’. What prompted the move toward heavier detail?
The shift from the lighter colour scheme in ‘Square Go’ to the more detailed, complex works in ‘Zep Tepi’ really show a change in both the themes I was exploring and the techniques I used. In ‘Square Go’, most of the portraits focused on human faces, where I kept the colours light and minimal to highlight the subtleties of the human form and emotion. The simplicity of the colour palette was a way to keep things focused on the essence of human identity.But in ‘Zep Tepi’, I shifted gears and started depicting these otherworldly, powerful, hybrid deities. This brought a lot more depth and richness to the work. I used thicker layers of paint to capture the textures of animal-like skin and the vivid, striking colours of these figures. It gave me the chance to play with the contrasts between human and animal traits, while also leaning into the mythological and spiritual aspects of the work. The bolder paint and intricate textures made these deities feel more primal and supernatural, giving them a stronger, more visceral presence.
So, moving from the subtle, human-focused portraits in ‘Square Go’ to the more complex, god-like figures in ‘Zep Tepi’ really reflects my evolution in both the ideas I’m exploring and the way I approach my work— stepping away from simplicity and into more depth and complexity.
Is there a specific story you’re aiming to tell with this exhibition? If so, how?
Zep Tepi, is an ancient Egyptian term that translates to "the beginning" or "the first occurrence.” It denotes a mythical period in Egyptian mythology, believed to be the moment of creation and the establishment of cosmic order by the deities. In this new series of paintings, I aim to bring these creator gods to life, presenting them as performers in a play, portraying vivid expressions and lively body language that capture the essence of each character. The interplay and relationships of colour are also carefully considered to create a specific atmosphere. Cool blues may represent the calmness of the Nile; warm oranges and strong reds evoking the heat of the desert sun. During the research and development of these paintings I became interested in how ancient cultures would embellish the entrances of their sacred sites with detailed carvings and sculptures, highlighting the key element of symmetry to represent balance and harmony in the universe. In several paintings, I've sought to honour this artistic heritage.
'Zep Tepi' is at RHODES until the 1st of February. To enquire about the exhibition and available works please email info@rhodescontemporaryart.com
