A solo exhibition of London-based artist Jamie Fitzpatrick. 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 to impose forms of power, authority and control.
Fitzpatrick’s domineering sculptures aim to undermine patriarchal depictions of masculinity and nationhood, rendering them absurd and dumb. Sculpture, painting, installation, sound and the spoken word all attempt to heighten and question the experience of what it means to stand in front of something that has been made with the express intention of supporting, qualifying or glorifying an ideal of authority, placing its viewer under a state of subordination.
For this site-specific installation, curated by Chris Bayley, Fitzpatrick exploits the limitations of the 16-metre vitrine as a means to further disrupt and undermine the works. By breaking the sanctity of the sited exhibition and working towards creating temporal shifts as a means of both undermining the sculptural arrogance of permanence, works dominate and alter the environment through motorised movement. These works acknowledge their own confinement within the vitrine and adopt the inherent limitations to their advantage.
Fitzpatrick uses the exhibition space as a space for the works to perform. By bringing elements of mechanics and undermining the permanence of figurative sculpture, the works lend themselves to a narrative and the theatrical. Influenced by absurdist theatre, in particular Samuel Beckett and the satire of 16th century French playwright Molière; Fitzpatrick has devised a short three-part play (the horse, the king and the nurse) considering transgression and rebellion. In the tradition of ‘Punch and Judy’ puppet shows and in the spirit of outrageous comedy, the piece explores indecency and madness in the face of authority. This written component acts as both a backdrop and an anchor for the exhibition, playing a major part within the development of his practice.
Jamie Fitzpatrick’s exhibition is generously supported by Arts Council England.