Approved: 16.08.2006

David Fitzjohn

Artist, Lecturer / academic

Approved: 16.08.2006

My paintings in appearance are abstract, but are conceived as a combination of juxtaposed figurative elements, which are then camouflaged by imposing a strict systematic approach to the development of the work. Through this organised process, disparate narrative images connect and combine, creating an optical, formal, abstracted whole. Through the use of carefully selected figurative imagery I am exploring

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Biography

My paintings in appearance are abstract, but are conceived as a combination of juxtaposed figurative elements, which are then camouflaged by imposing a strict systematic approach to the development of the work. Through this organised process, disparate narrative images connect and combine, creating an optical, formal, abstracted whole. Through the use of carefully selected figurative imagery I am exploring the function of memory, story telling and belief systems, together with ideas of manipulation, perception and deception. The juxtaposition and overlaying of images is crucial to the development of these ideas. Suggestions are created but full meanings are camouflaged, obscured, creating intentional ambiguity, uncertainty and unease. Over time I have developed a calculated system of constructing an image that mirrors my thought process. The technique I employ allows me to reiterate the melding of multifaceted identities into a unified whole. I build the paintings up using layers of highly saturated colour. By imposing grids and contour lines over figurative elements, I break down definition of individual forms, merging and unifying the picture space. Once set up, the system takes over. I methodically fill shapes, overlaying the whole surface with continuous lines of a pre-set colour palette. The lines and colour combinations create a disruptive optical effect, which I hope physically represents the diffused and fractured nature of perception. A duality exists both visually and conceptually within my work. Physically, it can be perceived as flat and decorative, yet a strong sense of spatial depth also occurs created by optical colour and the obscured overlaying of disjointed imagery. The choice and use of imagery combined with process sets up a discussion of universal themes, yet the paintings also operate on a purely formal level. They are about the language of colour and its powerful, manipulative and seductive nature.

CV & Education

Qualifications and training 1993 - MA Painting, Royal College of Art, London 1983 - BA (Hons) Fine Art, Canterbury College of Art, Canterbury Solo exhibitions 2015 - Fimbulwinter IV, Cardiff MADE, Cardiff 2014- Fimbulwinter III, Oriel Mwldan, Cardigan 2013 - 'Test Bed' Fimbulwinter II, Oriel Davies, Newtown 2010 - Fimbulwinter, Joanna Field Gallery, Milford Haven Wales 2008 - Its Heaven up There, Oriel Henry Thomas Gallery, West Wales School of the Arts, Carmarthen Group exhibitions  2015 - 'OAK 2015' Killenure Castle, Co. Tipperary, Eire 2012 - 'Citizen' tactileBOSH, Cardiff  2010 - Death & Entrances, St Mary of Charity Church, Faversham 2010 - Gathered World, The Ceramic Gallery, Aberystwyth Arts Centre, Aberystwyth 2010 - Y Lle Celf National Eisteddfod of Wales, The Works, Ebbw Vale 2009 - Uncertain Journeys, Oriel Q, Narberth 2009 - WCS?, TactileBOSH, Cardiff 2006 - Head Turner, Iota Gallery , Ramsgate 2004 - Group show, West Wales Centre for the Crafts, Pembrokeshire 2003 - Opening Exhibition, Jenny Granger Gallery, Whitstable 2002 - Fresh Art, Business Design Centre, London 1996 - The Italian Job, British School at Rome 1995 - Degree Show, Royal College of Art 1995 - Five Abstract Painters, Paton Gallery, London 1995 - Tunnel Vision, The Mona Bismark Foundation, Paris 1989 - Young Painters Southeast, Maidstone Library Gallery, Kent 1987 - John Moores Liverpool Exhibition 15, Liverpool Competitions, prizes and awards 1995 - Abbey Scholarship in Painting, The British School at Rome, Rome