Whitaker Art Museum exhibition catalogue “after seven years... and later” the art of Richard Fitton 11 May to July 28 2019exhibition catalogue - written, designed & produced by painters TUBES magazine ©2019 all rights reserved

“after 7 years ...and later the art of Richard Fitton an exhibition of paintings Whitaker Museum of Art 11 May to 28 July 2019 All images shown in this catalogue are the copyright of Richard Fitton they may not be reproduced in any way whatsoever without the written consent of the artist ©Richard Fitton 2012-2019 The catalogue is sponsored, designed and produced by painters TUBES magazine.The introduction and all other dialogue was written by Denis Taylor. Artist and Editor of painters TUBES magazine ©2015.2019 Denis Taylor all rights reserved www.painterstubes.com [email protected] +46 76 19 19 007 front and back cover. Head of Caleb. 2012

Introduction to the exhibition written by Denis TaylorThe title of the exhibition gives the viewer an indication of the chronological nature which the arthas been installed here at the Whitaker Art Museum. The date of each piece of Art is not specific assuch, however the arrangement shows Richard’s work from around 2012 onwards to thepresent day and the later work on show gives a glimpse of what we may expect to see from theartist in the future.I first became aware of Richard’s work over six years ago, quite soon after he was elected asa member of the Manchester Academy of Fine Art, a distinction bestowed on a young artist, whichwas unusual for the very long established MAFA organisation.Richard was only twenty one years old at the time. This ‘fellowship’ placed the artist in the frontof most fellow artists and commercial galleries in the North of England as a painter with greatpromise for the future. I was to meet him in person first in late 2015.Richard’s initial work was concerned with establishing a ‘form in space’ using paint in rapidlyapplied in heavy layers and then manipulating the pigment applied to gain the three dimensionalform he sought after. The heavy impasto technique, one that had been re-developed by known artistsfrom the early twentieth century that Richard began to utilise and make his own, mainly because itsuited his ambitions of achieving a ‘form in space’ - And using the human figure as the catalyst toreach an interesting and accomplished conclusion to a work of art.The simplistic titles of the work, for example “Head of Adam,” belies the intensity of theobservation behind the work and the extent to which the artist prepares for each unique painting hecreates. His preference for working from a ‘live’ model rather than solely relying on photographicreferences enables Richard to get close to the subject, both visually and emotionally.This close contact provides a true artist to feel the energy of the sitter, be that of a melancholy or ajoyful nature, either of which Richard absorbs and transcribes as sensations that travel through himand emerge as the brush strokes on whatever size of surface the artist had prepared in advance.The viewer is therefore presented not with a ‘portrait’ of this person or that person, but a paintingthat is an object in itself, a work of art that has been imbued with the artists depth of vision, passionand acute sensitive translation of the variable human condition, ones, I am sure, we have allexperienced at some point in time.‘It is this element in the work of the artist that the viewer can relate too and a major reason whyRichard’s work has been sought after by established commercial galleries andserious art collectors alike. continued

Adam. 2011-2012

This “form in space is married with the ‘human conditions’ period of Richard’s work, one hasoccupied him for many years and has produced some exciting original and authentic art.Although my personal opinion was reserved until around three years ago when I visited him athis studio in the North East of Manchester in the town of Rochdale. It was here that Richardand I gained a mutual understanding and respect for the need of ‘Painting as an Art Form’,a position from which, as an artist and editor of a painting magazine, I have encouraged andpromoted within the contemporary global artistic community since 1996.I firmly believe that Art, and painting in particular, is not merely ‘making images to sell,’ butis an essential part of a rare and unique creative gift coupled with an equally creative honestattitude, to find a path of discovery. A path that is needed for the positive development and theenrichment of our society, especially now in the twenty first century.Today, natural talent is simply not enough to achieve that goal, one that most genuine painters,them that rise to the challenge strive towards, not only for themselves, but subsequently foradvancing visual Art. I believe Richard is one of a few contemporary painters, with the rightminded ambition and belief in art, that will reach that ultimate objective in the future.It was with the future in mind that I welcomed Richard to my studio in Sweden recently.His need to invigorate himself with the help of different surrounding, pure nature and isolationwas the driving force for his visit. The intense week was filled with discussion, walks and the joyof the painting process. It was here that he found the environment , and perhaps the right artisticfellowship, that allowed him to reconnect with the natural world and himself as an artist.His creative vision was widened by the abstractions that nature offered-up to him. And itwas here that he re-engaged with some of the main principles of creating paintings of newcontemporary abstract work. Painting that consists of construction and composition usingan instinctive line and exacting colour tonal values. All the elements that are balanced in oneoutpouring of a natural and instinctive talent based artistic intelligence and vision.The latter part of this chronological arranged exhibition shows the visitor the outcome of thesenew beginnings. A few examples which I believe demonstrate an original new path for the Artist,a path that I am convinced will help propel him in creating an Art that is all his own, one that isabsolutely unique in contemporary art in general and with authentic neo-abstract work that isgraceful, a pleasure to behold and shows the creative force at its very best. introduction written by Denis Taylor. artist and editor painters TUBES magazine Europe, USA and the UK 2019© all rights reserved by Denis Taylor & painters Tubes magazine

Head of Natalie. 2015

note: in keeping with the concept and design of this exhibition the pages contain notes are extracted chronologicalnotes of the editor, from painters Tubes magazine internal files and are based on the various meeting of the artist and the editor of painters Tubes magazine between 2015 and 2019. photograph: painters Tubes magazine ©2017 first meeting...“...I’d arrived on a grey Sunday mid-morning that November, wind swept and partially soaked from thedrizzle that seems to constantly hover of the area the studio located in Rochdale.The offer of more than one cup of hot tea was readily accepted and much needed. The artist took me ona tour of the building explaining in great detail what the various rooms would function as, and what theywould look like, when completed. We eventually walked into his painting studio, which he insisted torepeatedly apologise for the ‘state’ it was in. “I haven’t had the time to clean up...”

...he said more than once. Being a painter myself he need not of worried, I know from personal experience,that there are many occasions when an artist gets so ‘into’ what he or she is creating, that the spacearound them becomes an invisible backdrop that accepts whatever is thrown at it.” After taking a fewphotographs of the studio, we decided to carry our conversation further in the comfort of a rather lovelypublic house, not far from the studio. Here we could sit and enjoy not only the beer, but also a warm andcordial atmosphere and discuss his artistic ambitions ““ I got the feeling that Richard was in a rush to advance himself as an artist, but not froma negative standpoint. He wanted, it seemed to me, to explore Art and redefine it to himself.This goal, inevitably, would result in a number of failed canvases, but also in quite brilliant works of arttoo. That ambition and that artistic way of thinking is one, that as an Artist myself, often find with the mostoriginal and authentic painters.” Kerrine Seated semi-nude. 2015

Head of Adam. (detail) painted 2015

photograph: Adam Taylor/paintersTubes magazine ©2018 Second meeting...“...Richard showed me the quite recent work of studies that were set up on his easel. Richard has, preferredto paint figurative (portraiture type paintings of people he knew or had known) and ‘interiors,’ anothersubject that is attracting painters of late.He explained to me how he wanted to upscale these works to large paintings, bigger than he had so donebefore. Typically, Richard was heightening his artistic bar in order to explore the greater possibilities orlimitations of the motives or discover a new level for his work.We talked for a short time about scaling up work from small oil sketches and the way in whicha painter can retain the immediacy of the application of paint.It is not uncommon for the ‘up-scaled’ paintings to become a little sterile or bland, when any artistsattempts a direct transfer from an oil study to large canvas, it is one of the dangers of choosing to usethat method. I mentioned that a ‘direct’ approach may well prove to be more successful. Another aspectof Richards work that had come to light to him was the ‘drawing’ of form. He felt he had overlooked thatimportant ingredient for perhaps a little too long when developing his energised canvases.Richard pointed out a reasonably large pastel drawing he had made recently, this demonstrated his suretyof line and draughtsmanship. He told me that he wanted to continue the drawing side of his art which I amsure will increase his power and confidence when hemoves up in canvas size.”

Head of Kerrine. 2016

photograph: Lee Harrison Photos © Third meeting...“...I called on chance to the artists new studio, we met in the morning with the intension of a few hours‘Art-Talk’. He showed me around including the new studio which is located with the ground of his newhome. The smaller size (from the previous studio) seems to have focussed him into going deeper in thework. His great delight was that he was able to draw from life, with models who could sit for him atvarious times convenient to them.We discussed painting in great depth and made many references to ‘form in space’ and how colourcan react to heighten the abstraction to give the appearance of some sort of reality, without the need todirect the viewer to that specific point of view. Our talk lasted the rest of the day and was totally filledwith discussion on the internal battles an artist has with themselves.The struggle to reach out and go further in the seemingly impossible task of accomplishing a work ofart that is imbued with the very soul and whole individualistic creative being of the one who created itand have the strength of mind to then let it go out into the world and let it live a long life of it’s own onit’s own merits, or otherwise.”

right - Adam 2019bottom: “friends talking in a ´room with paintings” 2019

photograph: Studio 5/Denis Taylor©2019 Fourth meeting...“...An unexpected but welcome visit to Studio 5 in Sweden was the artist Richard Fitton. He arrivedfrom the UK with a very full suitcase of paint tubes and brushes wanting to work and seeking away forward with his art. He was at an all too familiar artistic impasse. We walked in the forestssurrounding the studio where do to my own painting process, I pointed out the unique gift that natureprovides - not in it’s beauty per-sé, but in the abstract forms it can show you in abundance, if you havethe mind to see it.We took our walks further to the lakes and beaches that are not far from my studio. It was thatdivergence of environment in close proximity that I believed would help the artist to gain his excitementof seeing living abstract art for the first time. It seemed to do the job.Over the six days he was here we also discussed Art in general and in much greater depth than at anyof our previous meetings, including art history and how the past masters art is not be emulated norduplicated, but to be freely given direction and the power to enable an artist to stand alongside ofthem, neither behind or in front - but equal and in a line.”

Olivia 2019 “After 7 years...and Later” the art of Richard Fitton Whitaker Art Museum 11 May - 28th July 2019 www.thewhitaker.org email: [email protected]: +44 (0)1706 260785

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