Many of the locations considered by Stuart are under siege, some are collapsing, some bulldozed and demolished for redevelopment. The more fortunate venues have been refurbished, retaining their facades and architecture.

This predicament has forced Stuart to realise the importance of his chronicle, and perhaps more crucially, to be prolific. His paintings of cinemas, theatres, tower blocks, shop-fronts and warehouses are flooded with passion and melancholy. His brushwork creates clarity and has a graphic quality that allows the viewer to reflect upon their own experiences of the city.

The surface of his work embodies a profound understanding for the materials that make the city. He has crafted a massive textural language to recreate the physicalities of the buildings he paints. Combining the gritty surfaces of concrete, peeling paint, broken glass and graffiti with extraordinary draughtsmanship, his works reflect a deep knowledge and respect for the urban landscape.

Stuart’s attention to detail and his dramatic perspectives give the studies a photographic quality, cinematic colour and brooding light make the images both incredibly enduring and endearing.

Stuart has just returned from documenting Detroit, capturing Motor City at it's toughest time, he's about to commence work on a series of paintings from his trip. He fell in love with the derelict car plants and fulfilled a dream by meeting Tyree Guyton, the artist who in 1986 took a stand against the decay and crime that had enveloped the neighbourhood and created the Heidelberg Project. The street is hailed as a "Ghetto Guggenheim".