It Isn't Even Sunny Tina
Size:28 x 34 in.
Lee Ellis’s original painting It Isn’t Even Sunny Tina, measuring 24" x 30", is a captivating portrait layered with dry wit and raw artistic energy. Painted in his signature contemporary style, the piece features a striking monochromatic figure set against a bold ochre backdrop. The subject, clad in a striped turtleneck, gazes defiantly skyward through oversized white-rimmed sunglasses—an ironic nod to the title. Ellis’s expressive use of charcoal and paint brings texture and dimension to the face, with visible mark-making and scratches capturing both strength and vulnerability.
This portrait reflects Ellis’s ongoing exploration of the human face as a vehicle for experimentation rather than portraiture. His figures, often shrouded in anonymity, become canvases themselves—emotional landscapes layered with rich textures, dark themes, and flashes of humour. Here, the oversized glasses obscure the eyes, creating distance and intrigue, while the tilted head conveys attitude and quiet rebellion.
A Bristol-based multi-media artist, Ellis draws influence from artists like Francis Bacon and Lucian Freud. Fascinated by the interplay of materials, he uses oils, spray paint, and charcoal to build unique compositions full of movement and intensity. It Isn’t Even Sunny Tina is a testament to his fearless approach and ability to fuse dark subjects with playful contemporary commentary.
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Description
Size:28 x 34 in.
Lee Ellis’s original painting It Isn’t Even Sunny Tina, measuring 24" x 30", is a captivating portrait layered with dry wit and raw artistic energy. Painted in his signature contemporary style, the piece features a striking monochromatic figure set against a bold ochre backdrop. The subject, clad in a striped turtleneck, gazes defiantly skyward through oversized white-rimmed sunglasses—an ironic nod to the title. Ellis’s expressive use of charcoal and paint brings texture and dimension to the face, with visible mark-making and scratches capturing both strength and vulnerability.
This portrait reflects Ellis’s ongoing exploration of the human face as a vehicle for experimentation rather than portraiture. His figures, often shrouded in anonymity, become canvases themselves—emotional landscapes layered with rich textures, dark themes, and flashes of humour. Here, the oversized glasses obscure the eyes, creating distance and intrigue, while the tilted head conveys attitude and quiet rebellion.
A Bristol-based multi-media artist, Ellis draws influence from artists like Francis Bacon and Lucian Freud. Fascinated by the interplay of materials, he uses oils, spray paint, and charcoal to build unique compositions full of movement and intensity. It Isn’t Even Sunny Tina is a testament to his fearless approach and ability to fuse dark subjects with playful contemporary commentary.
