WOMAN magazine, Isidro Estévez

This northamerican artist established in Barcelona has mixed influences of the big contemporary painters to his work. The energy and vitality that fall off his paintings have given him a solid reputation.

What is the leitmotiv in all he does ?
"The creation of images and the fact that my work is informed by art history. (...) even though I can adopt different styles, in my work there is always references to some artist or some plastic movement. The same way some of my recent paintings are obviously based on the synthetic cubism of Picasso, and on Léger´s work, my poster of the Barcelona Beach, for exemple, have a connection with Paul Klee... I am very studious (bookish) of art history. I like to pay homages in my work. (...) Every time that I open an art book I learn something, and I give myself a challenge in apating other painters styles to mine.

His work is usually joyful, positive, compared to a majority of sombre and grim.
Is joyfullness badly seen in art ?
The zars that move exibitions of living artists are much more interested in conceptual, cold, hermetic, critic art. The idea of giving a therapeutical art goes against the current. There is many artists that are creating shady, monochromatic and tortured art; I do not want to be another of them.

What are the existing differences in between these two ways of working ?
Pictoric work seems easier, in the sense that you are creating without any limitations, but is actually more difficult because the artist is constantly under torture. With commissioned work, even though you carry more responsability, you don´t get this sensation of torture.

Those who think that tranform a tablecloth into a painting can be frivolous. Can art be present in everyday objects?
I don´t believe in the elitism of art. I like to reach many people with what I do. I have fun thinking that an enormous quantity of these tablecloths will be laying in houses all over Spain. It´s nice to give a touch of happiness to the everyday life of many people.

ART, by Laura Revuelta

(...) But the hommages of Philip Stanton are not at all exclusivist. As an artist living a hundred percent in its time, an end of the century time, he appropriates what his eyes see, without any doubt than the estetic one: this I like, this I don´t like. His paintings do not suffer from any type of intellectuality, nor from any forced pose. The art- not necessary to remind it, came out of the museums to walk on the streets, and who, like him, is assiduos in both places, can take advantage of a double asset and knowledge. So, when the spectator asks himself about the origins of such blatent optimism, like Stanton´s, he can find many references in his artistic memory, and they all end up showing his veracity. It´s not diffucult to evoke Matisse , the "fauves", David Hockney. But it´s better not to trust the appearances, it contains this and more (...).
There is no limits when not acting in line with prejudices. In the cocktail, whose side effects can be impredictible, there is a mixture of clasicism, pop, german expressionism, cubism, beginning of the century avantgard, northamerican realism, muralist mexican painting, music, estetic of rock, musical videos, and I suppose that of course also coca-cola, hamburgers and hot dogs, and last, the vitality of mediterranean light. (...).
Decorative as synonim of optimism, of positive energy. In these paintings, everything is color, exultant, almost irrelevant (impertinent), for some, as an excess of pleasure, does it not exist a place for sadness or melancoly? No, roundly not. Stanton has the key: "I try not to contribute to the actual negativism". And bringing Matisse back to the scene, I reminds us that "during both world wars he created work of enormous beaty. He thought that art had curative powers".

EL PERIODICO, by Pau Arenós

(...) lately, Stanton works the puzzle of cubism, even if he has rounded it up with the overflowed fruit bowl of his palet. There is no artist that uses colors with more talent, except nature, since it still draws twilights in flame that nobody is able to reproduce. "My still lives are alife, not dead". It´s true. A fish about to sprig out of the frame-net. Fried eggs, so solar that they dazzle. A bottle in relief, exactly like a drunk would see it. "I want to celebrat little pleasures". This blond men opens windows (...). Which are the tonalities of Barcelona? Eixample, sand houses: "beige, red of Mars, cream yellow". The sea, with the hankerchiefs of the sails:"cobalt blue, ultramarin blue, turquoise green, white; and cadmion for the fishermen boats". The Llobregat river, dirty tongue:" Chemical mousse". The Collserola mountain, bonsai-wood: "it´s actually brown green, but I see it with an intense green". The color against the grays.