Jamie Fitzpatrick’s practice deals with the rhetoric of image making, the relevance of the figure and how objects and totemic gestures such as flags, statues or plinths are used within the work to impose forms of power and control. The sculptures are influenced by Wilhelm Reich’s ideas on power-infatuation, cultural conditioning and sexual suppression, the works are built from foam and coloured wax and simply some transgressive act.
Frieze Magazine described Fitzpatrick’s aesthetic “a mash-up of Paul McCarthy and Phyllida Barlow,” and indeed, his sculptures are dynamic and bold. Fitzpatrick brings play and nuance to the motifs of authority and prestige creating works (and worlds) that question positional and hierarchical constructs by remaking and resurfacing narrative objects, his work places the viewer in an ever-shifting position between subordination and empowerment.
By employing the motifs of figurative art, patriarchal depictions of masculinity and nationhood, Fitzpatrick’s domineering sculptures express intention of undermining them, rendering them absurd and dumb. To bring these themes to life, Fitzpatrick uses performance and movement, transforming his sculptors into both actors and sets. He is recently introduced temporal considerations as a means of further undermining the arrogance of permanence in monumental figures.
Jamie Fitzpatrick (b.1985, Southport, UK) lives and works in London. He graduated in 2015 with an MA in Sculpture from the Royal College of Art, having gained a BA (Hons) in Fine Art, Philosophy and Contemporary Practice in 2009 from Duncan of Jordanstone College of Art, Dundee. He was awarded: Vordemberge-Gildewart Award (2016), shortlist; XL Catlin Art Prize (2016); UK/RAINE Saatchi Gallery Sculpture Prize (2015); New Contemporaries (2015 and 2016); Cowley Manor, Shortlisted, Cheltenham (2015); LAND Securities Award (2015); Sidney Perry Foundation (2013 & 2015); Mijoda Trust (2014); Dundee Visual Artist Award Bursary (2009); Wasps Studio Prize, Dundee (2009); and George Duncan of Drumfork Scholarship (2008).
Solo exhibitions include: ‘(loudly) chomp, chomp, chomp’, VITRINE, London, UK, 2016); ‘Into the Hands of Housewives & Children’, Telfer Gallery, Glasgow, UK (2012); and ‘Jamie Fitzpatrick, Gallery of Wonder’, Hancock Museum, Newcastle, UK (2011). Fitzpatrick had solo booth with VITRINE at ARTISSIMA, Turin, (2016).
Group exhibitions include: ‘Hope is Strong’ (alongside Ai Weiwei and Jeremy Deller), Sheffield Museum, UK (2018); ‘Failure’, Litóst gallery in Prague, CZ (2018); ‘Th-th-th-that’s all folks!’, Castlefield gallery, Manchester, UK (2018); ‘Grim Tales’, Cassina Projects with ARTUNER, New York, US (2017); ‘New Contemporaries’, ICA, London and Bluecoat, Liverpool, UK (2016); ’XL Catlin Art Prize’, London, UK (2016); ‘UK/RAINE’, Saatchi Gallery, London, UK (2015); ‘New Contemporaries’, ICA, London and Backlit, Nottingham, UK (2015); ‘Taking Shape: Sculpture on the Verge’, Pangaea Sculptor’s Centre, London, UK (2015); ‘Cowley Manor Sculpture Garden Show’, Cheltenham, UK (2015); ‘Pause Patina’, Camden Arts Centre, London, UK (2015); ‘Of Natural and Mystical Things’, Royal Scottish Academy, Edinburgh, UK (2012); and ‘A Grand Day Out’, Kelvingrove Museum, Glasgow, UK (2012).
Residencies include: Eastside International Los Angeles Residency (US, 2017), Biruchiy contemporary art project with the British Council (Ukraine, 2016); Pangaea Sculptors’ Centre, London (2015); The Leatherseller’s Company (2014); Telfer Gallery, Glasgow (2012); John Kinross Scholarship, Florence, Italy (2010); Cite International des Arts, Paris Residency (2014); and Scottish Sculpture Workshop (2009).
Fitzpatrick has a duo-show with Lindsey Mendick at VITRINE, Basel (June-September 2018).
Frittering away the last puddle from the bottom of a dry well, 2016
And these children that you spit on, 2016
Artissima 2016, documentation video
Duration 1 min 45 sec