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Andrew Fitchett
ANDREW FITCHETT DRAWING AND PAINTING COURSES Developing Composition in Drawing and Painting West Dean College, Chichester 5th to 8th December 2010 Full course description and fee details from Tel: 01243 818262 or the West Dean College website The Dorset Landscape from Pencil to Oils 9th and 10th April 2011 Full course description and fee details from Ruth Collier Tel.01308 458787 or the escapetodorset website An Introduction to Observationasl Drawing West Dean College, Chichester 7th to 9th October 2011 Full course description and fee details from Tel: 01243 818262 or the West Dean College website A N D R E W F I T C H E T T I studied Art and Design at Salisbury College of Art in the early eighties, which lead to a career in Graphic Design and later Art Direction in the Advertising Industry. I left London in 1992, moving to Lewes to concentrate more time on my own paintings and drawings. I like artists who hold out against trends and pursue their own personal vision. I am uncomfortable with being directly influenced by other people's work, it feels like contamination. That is what painting is to me, a deeply personal journey where I am the one I am trying to surprise most. From a technical perspective I think that the visual composition skills that I developed during my design and advertising career have a strong presence in my paintings but draughtsmanship is at the centre of my work. Whether I am working on a small ink drawing or large oil painting, detail is unavoidable. Inspiration often comes from the atmosphere of a place. I am particularly drawn to moments of stillness and isolation. These are the things that make a landscape interesting for me rather than any particular type of terrain. The painting that follows is a kind of enhanced memory of that place which is developed in my studio from sketches and photographs made on location. My long-standing fascination with Crows is more folklore than ornithological and they often make appearances in my landscape paintings, sometimes as a deliberate narrative device. My portrait paintings are driven by the same fascination with those moments of stillness and isolation and are a kind of distillation of what I know of the person as much as what I see. Compositionally, where I position someone on the canvas is always significant. | |||||
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