Jamie Fitzpatrick, Lindsey Mendick

SMUT

13 June 2018 - 2 September 2018
VITRINE, Basel

 

A two-person exhibition of emerging British artists Jamie Fitzpatrick and Lindsey Mendick, whose practices explore a shared interest in gender, high and low cultural histories, and the relevance of the figure in image-making.

’SMUT’ brings together a collection of works produced concurrently in 2018 by the artists (in some cases in collaboration) in response to a shared interest in The Wallace Collection and its French 18th-century paintings, romantic fragonards, and porcelain figurines. Mendick describes a trip to the Wallace Collection and the artists bonding “over the grandeur and splendour of both the collection and decor. Gold guilded frames bled into grand paintings of feasting, dancing and amore. Rich brocade flooded the walls, glittering chandeliers dwarfed and aroused us. It dripped in excess and reeked of opulence. It was resolutely us.” These exuberant themes seep from the characters depicted in each artists’ new work, created in a variety of material combinations. Fitzpatrick working primarily with foam and coloured wax; whilst Mendick combines ceramic, painted wood, and fabric.

Fitzpatrick’s wax sculptures depict dancing male figures blown up from their porcelain figurine scale, with their female partners removed and their features and masculinity exaggerated. Each sculpture sits on a base with wheels to allow movement and a choreography in the space, and their clothes are encrusted in romantic floral decoration. As with much of his work, this new series of sculptures are influenced by ideas on cultural conditioning and sexual suppression, created from some transgressive act.

Fitzpatrick’s new silent video work uses his sculptures and the painted backdrop in a studio set-build for filming ‘The Transformative Stag Do’. As performer, the artist presents himself as the ‘Stag’, soon to be married but first subjected to a torturous and absurd ritual of masculinity.

Lindsey Mendick’s new works are gluttonous and porous, exposing lubricious lustre to the spectator. Inspired by William Morris “nothing which is made by man will be ugly, but will have its due form, and its due ornament, and will tell the tale of its making and the tale of its use”, she uses clay’s tactile nature to portray personal narratives. These new works depict party foods and celebrate the spectacle of femininity and feasting, whilst concurrently exploring the private shame associated to female gluttony.

Her sculpture ‘The Spectre at the Feast’ is framed by a backdrop painting, painted-in-situ on a double bed sheet, depicting the background of Fragonard’s ’The Swing’. This work is from a series of paintings focused on Mendick’s personal attempts as a female artist to employ the efflorescent language of classic male romantic painting.

The artists have collaboratively created kissing sculptures, which are inspired by the ‘amour sculptures’ at the Wallace Collection. These small works immortalise tender moments between lovers in a medium that desires to be manipulated by the hand. They are enshrouded by collaborative window paintings.

Together these works in varied materials and media are immersed in their elements into one hedonistic installation. The artists assume their respective masculine and feminine roles and through their work subvert the limitations of gender. The viewer becomes voyeuristic onlooker.

 

Artist Biographies

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. Awards include: UK/RAINE Saatchi Gallery Sculpture Prize (2015); LAND Securities Award (2015); Vordemberge-Gildewart Award (Shortlist, 2016); XL Catlin Art Prize (Shortlist, 2016); and New Contemporaries (2015 and 2016). International exhibitions include: Hope is Strong, Millennium Gallery, Sheffield Museums, UK (2018); Grim Tales, Cassina Projects with ARTUNER, New York, US (2017); Taking Shape: Sculpture on the Verge, Pangaea Sculptor’s Centre, London, UK (2015); Pause Patina, Camden Arts Centre, London, UK (2015); Into the Hands of Housewives & Children, Telfer Gallery, Glasgow, UK (2012).

Lindsey Mendick (b. 1987, London) received her MA in Sculpture from the Royal College of Art in 2017, after completing a BA in Contemporary Fine Art at Sheffield Hallam University. She has recently been awarded the 2018 Alexandra Reinhardt Memorial Award. Exhibitions include: Perfectly Ripe, Invites at Zabludowicz Collection, London (2018); If You Can’t Stand the Heat, Roaming, London (2018); You See Me Like A UFO, Marcelle Joseph Projects (2017); Herland, Bosse & Baum, London (2017); In Dark Times, Castlefield Gallery, Manchester (2017); She’s Really Nice When You Get To Know Her, Visual Arts Center, Austin Texas (2016); Anne et Lucie, Musee de Valence, France (2016); Performance: Disco 2000, Zabludowicz Collection, London (2015); and Mostyn 19, Mostyn Gallery, Wales (2015).

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Lindsey Mendick, SMUT, 2018. Installation view. Photographer: Nicolas Gysin.

Lindsey Mendick, SMUT, 2018. Installation view. Photographer: Nicolas Gysin.

Lindsey Mendick, SMUT, 2018. Installation view. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, Sticky with U, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel, glazed ceramic, under-glaze pencil, epoxy resin, MDF, emulsion. 42 x 214 x 55 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, Snog, 2018. Glazed ceramic, MDF, paint. 18 x 46 x 43 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, Avoid, 2018. Glazed ceramic. 15 x 11 x 34 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, Booze Makes the Heart Grow Fonder, 2018. Glazed ceramic. 40 x 30 x 5 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, This Is Probably Why I'm Still Single, 2018. Glazed Ceramic. 24 x 25 x 42 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, A Little Bit of What You Fancy, 2018. Glazed Ceramic. 14 x 18 x 15 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, I Wish That I Didn't Still Miss You, 2018. Glazed Ceramic. 5 x 27.5 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, Everything in Moderation, 2018. Glazed Ceramic. 30 x 46 x 6 cm.

Lindsey Mendick, All By Myself, 2018. Glazed ceramic, papier mâché, tights. 86 x 43 x 120 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, Me Without You, 2018. Acrylic, emulsion on cotton double bed sheet. 190 x 270 cm. Photographer. Nicolas Gysin.

Lindsey Mendick, The Spectre at The Feast, 2018. Glazed ceramic, papier mâché, tights, chaise longue, acrylic paint, camembert. 111 x 112 x 166 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, The Spectre at The Feast, 2018. Glazed ceramic, papier mâché, tights, chaise longue, acrylic paint, camembert. 111 x 112 x 166 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, The Spectre at The Feast, 2018. Glazed ceramic, papier mâché, tights, chaise longue, acrylic paint, camembert. 111 x 112 x 166 cm. Photographer: Nicolas Gysin.

Lindsey Mendick, The Spectre at The Feast, 2018. Glazed ceramic, papier mâché, tights, chaise longue, acrylic paint, camembert. 111 x 112 x 166 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Blue Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 134 x 94 x 100 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Blue Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 134 x 94 x 100 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Red Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 142 x 117 x 113 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Red Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 142 x 117 x 113 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Green Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 80 x 122 x 137 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick & Lindsey Mendick, SMUT, 2018. Installation view. VITRINE, Basel. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Brown Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 82 x 121 x 152 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, Brown Stag, 2018. Wax, polystyrene, polyurethane, scrim, wood, steel and castors. 82 x 121 x 152 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, The Husband's Toilet, 2018. Wood, paint, wine bottles from artist's wedding, gold powder, silicone, polystyrene, steel & gold dancing pants. 27 x 72 x 120 cm. Photographer: Nicolas Gysin.

Jamie Fitzpatrick, The Transformative Stag Do, 2018. Video. Single channel, silent with subtitles. 00:16:48. Edition of 3 (1 AP).

Jamie Fitzpatrick, The Transformative Stag Do, 2018. Video. Single channel, silent with subtitles. 00:16:48. Edition of 3 (1 AP).

Jamie Fitzpatrick, The Transformative Stag Do, 2018. Video. Single channel, silent with subtitles. 00:16:48. Edition of 3 (1 AP).

Jamie Fitzpatrick, The Transformative Stag Do, 2018. Video. Single channel, silent with subtitles. 00:16:48. Edition of 3 (1 AP).