belgravia gallery · pdf fileelemental ii oil on copper panel 49 x 98 cm 23 maddox street...
TRANSCRIPT
FLETCHER SIBTHORPNEW WORKS
Afterlight Oil and silver leaf on board 44 x 33cm
The Edge of a Beautiful Day Oil and silver leaf on board 44 x 44cm
Front Image : The Beaded Hairclasp Oil on board 35 x 31cm
The Quiet Before... study Oil on board 40 x 30cm
FLETCHER SIBTHORPPRIVATE VIEW
The directors of Belgravia Gallery are delighted to invite you to
Thursday 10th November 2016 6 - 8.30pm
Exhibition continues until 30th November
23 Maddox Street, Mayfair, London W1S 2QN
Zoe X Oil on canvas mounted on board 74 x 117 cm
RSVP [email protected]
Elemental II Oil on copper panel 49 x 98 cm
23 Maddox Street Mayfair London W1S 2QNt: +44 (0)20 7495 1010 e: [email protected] w: www.belgraviagallery.com
FLETCHER SIBTHORP was born in Hertfordshire, England in 1967. Graduating from Kingston University in 1989. Fletcher’s fascination for the human form has not abated since then, culminating recently in a series of paintings called The Quiet Space series.“The Quiet Space series is for me my most personal work. I have found reward over the years in producing artworks that just ‘are’. I attach no great meaning to them and I shy away from explaining them in any way. For me painting is a visual language so should not require rationalisation. I believe that artwork, especially my kind of work, should be self-explanatory as it is a visual language. If you have to explain it, you are failing to a certain extent. Everything should be conveyed in the painting. I would go along with Oscar Wilde, who once said “A picture has no meaning but its beauty, no message but its joy.”He first started embarking on these artworks in 1999 drawn back to the idea time and time again.“Quiet Space represents for me, captured moments of human introspection and frailty, instants which exist and then are gone, whether an expression, the way light falls and catches the face, or a simple portrait. The simplicity of the paintings allows the viewer to naturally attach their own experiences and thoughts to the work. There is an underlying narrative in most of the pieces, but this is subtle - the contemporary paring-down juxtaposing the classical references and themes.”Technically, over the years, his work has become more considered – following classical practices and ideals and combining that with precious metal leaf. Inspired by the work he admires at The National Gallery and Tate Britain and the recent american resurgence in representational art, he embarked on the journey of honing his skills to create the work he wanted to create and to find his individual voice.