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Robert Fitzmaurice

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20160819194133-confidence_for_web
The confidence, 2015 Oil And Sawdust On Panel 8 X 8 Inches © Robert Fitzmaurice
20160819194227-age_of_desire
The age of desire, 2015 Oil On Arches Paper 30 X 22 Inches © Robert Fitzmaurice
20160819194228-court_out
Court out, 2015 Oil On Arches Paper 30 X 22 Inches © Robert Fitzmaurice
20160819194232-donowrong
Do no wrong, 2015 Oil On Arches Paper 30 X 22 Inches © Robert Fitzmaurice
20160819194232-fakemoustache
The fake moustache, 2015 Oil On Arches Paper 30 X 22 Inches © Robert Fitzmaurice
20161004090510-robert_fitzmaurice
Visitors Carborundum Print © Robert Fitzmaurice
20161014233143-nowyourtractorismychariot
Now your tractor is my chariot, 2016 Oil On Aluminium 120 X 150 Cm © Robert Fitzmaurice
20170405155942-the_zealot
The Zealot, 2016 Oil On Aluminium 61 X 91 Cm © Robert Fitzmaurice
20140907210506-clock-tower
Quick Facts
Birthplace
Nuneaton
Birth year
1960
Lives in
Reading
Works in
Reading
Schools
Sunderland art College, 1983, BA Hons in Fine Art - Double First
The University of Reading, 1986, MFA (Painting)
Representing galleries
Tags
figurative
Current Exhibitions and Events
Jun, 2017
Just Under 100: New Prints 2017/Summer
IPCNY International Print Center New York
Bio & Statement

Robert Fitzmaurice (born 1960) is originally from the Midlands but has lived in Reading since 1984. His painting, printmaking and mixed media work is characterised by an expressive use of colour and form. He studied Fine Art at the universities of Sunderland and Reading, and through exhibitions in the UK and abroad his work has entered a number of private collections. 
Notable exhibitions include: ‘Artist the Day’ Angela Flowers Gallery, London (1984); and ‘Heaven+Hell’ Espacio Gallery, London (2014); The RA Summer Exhibition 2016 and 'Innervisions', IPCNY, New York 2016

"I create absurd, charged, fragmented narratives. They draw upon human dramas, especially childhood and rites of passage, to excavate the patterns of behaviour, systems and structures which define us. Contrasting personal motifs with history and contemporary culture their main preoccupations are with power, vulnerability and desire. 
As I work my source elements are combined and abstracted at will. This drives an evolving vocabulary of forms that play with meaning and layered identities. Likewise my colour palettes may be lifted from Poussin, an Instagram snap or the films of Wong Kar Wei, but are always chosen to evoke a seductive yet melancholy tone that sits deliberately at odds with the ludicrous scenarios I conjure."