F L E TC H E R S I BT H O R P N E W A N D S E L E C T E D WO R K S 2 0 2 0
F L E TC H E R S I BT H O R P N E W A N D S E L E C T E D WO R K S 2 0 2 0
F L E TC H E R S I BT H O R P NEW AND SELECTED WORKS 2020 6 - 24th Februar y 2020
100 Heath Street, Hampstead London NW3 1DP
For Ari
Ari Oil and charcoal on Mylar 32 x 32 INCHES / 81 x 81 CM
FLETCHER takes a large piece of charcoal and roughly
establishing his own thriving factory in Hertfordshire,
marks the area that will eventually become a woman’s
making precision parts for the likes of Rolls Royce. He was
outward gaze. Charcoal splinters fall to the floor as he
an inventor and channelled his creativity into building new
works across the panel, filling the space with expanses
machines and running a successful business.Throughout,he
of shadow that will form the basis of the composition.
carried on his art, seeking solace in the meditative act
Dipping a brush in charcoal powder, he lays down more
of painting. He was self-taught, learning his craft through
form; a sweeping gesture marking the jaw line, another
‘how to’ books and trial and error, challenging himself by
marking the strands of hair before dipping the same
copying
brush in water to move the pigment across the surface.
art book plates.
portraits
by
his
favourite
artists
and
He ignores the drips and obvious flaws the water makes but works with a rag in one hand and a brush in the
As
often
happens, the
painting
gene
skips
a
other, standing back for a moment before setting upon the
generation. So, when his grandson was born, he found
drawing again, carving out the figure with both light
himself a tutor to a willing student eager to create. Oil
and dark.
paints, engineers’ drawings and art manuals were fertile surroundings for Fletcher’s creativity whilst growing
In pursuit of the ‘the poetry of figure and the soul
up. He was often found with a pencil in hand, copying
within’, Fletcher has spent a lifetime honing his art,
from his grandfather’s books and his own well thumbed
experimenting
comics, copying the likes Judge Dread, Stan Lee’s
painting classical
with
and
techniques, to
the
developing
drawing
abstract.
Each
from skill
many the
Spiderman
and
his
favourite
Silver
Surfer. He
another
nostalgically thinks of these as his Marvel Bargue Plates.
potential tool to convey feeling or add a layer of complexity
He also found inspiration on the factory floor capturing
and expression, in service of the ultimate aim: to draw the
the movement of the engineers huddled over lathes and
viewer into a moment or to spark a feeling of recognition..
workbenches as they produced precision parts, their movements assured and accomplished - artists
”For my part, I am often trying to capture that
in their own craft.
moment of contemplation, where the viewer is drawn in; one which stirs emotion, or provokes thought.
”Love
what
you
paint”
was
his
grandfather’s
Perhaps it’s something simple...sensory, or maybe it
advice, so it was no surprise that the likes of Darth
rekindle a memory or provokes…” Fletcher’s work
Vader, Stormtroopers and movie posters started to be
seeks out that essence that makes us human... that bit
portrayed. His father’s science fiction novels and the
of our soul that shines through in a fleeting moment.
iconic Omni magazine, with artists like H R Geiger the creator of Alien, also influenced his ‘shading’ and
Fletcher Sibthorp was born 1967 in Bricketwood
subject matter. Star Wars was a massive influence, to
Hertfordshire
engineers. His
the point where after watching a documentary on its
grandfather, raised in the East End of London, had
making and seeing the special effects scenery painters
aspirations to be an artist but had his creative
at work, Fletcher asked his dad: “Can I go to California
ambitions thwarted by the need to provide for his
and work for Industrial Light and Magic?” The idea of
seven siblings. He became an engineer’s apprentice,
using his art to make a living seemed from that moment
into
a
family
of
to be a real option. When asked what he wanted to do
her last rehearsal there in 2007. The finished painting
when he grew up, he said that he wanted to become an
from those studies ,’Darcey in Three Movements’, helped
‘illustrator’ - which to the eleven year old sounded like
raise funds for the Royal Ballet School, where it was
a real job.
commissioned by Bussell to hang. An honourable mention was bestowed that year by the school and a plaque with
Following an Art Foundation course at Hertfordshire
his name on placed in The White Lodge. He was also given
College of Art and Design, Fletcher embarked on an
the honour of Artist in Residence at the school that year.
Illustration degree at Kingston University. Known for its comprehensive teaching in the classical arts; plein air, life
These
drawing and compositional rigour, the training was akin
growing reputation. With solo exhibitions in 2005-
to a traditional fine art degree. Unlike most students,
2008 with a Cork Street gallery, he won the Fine
he worked on large scale stretched canvas - portraits
Art Trade Guild’s poll as the most successful living
and moving figures captured in oil paint and charcoal, his
British print artist. He has also won and has been given
fascination with depicting the human form ever present.
honourable mentions for his artwork several years in
Commissions followed soon after graduating, from
a row at the ARC Salon – an internationally acclaimed
the likes of Penguin Books, Random House,The Royal
competition based on representational figurative art.
Ballet, The
Royal
Shakespeare
high-profile
projects
bolstered
Fletcher’s
Company, Chase
Manhattan Bank and others. But Fletcher’s passion
What really engages Fletcher is unravelling the
was always to be as an exhibiting artist. His interest in
mystery of human condition.This is his life’s work.This new
anatomy and movement defined his first solo show in
series of artworks at the Catto include paintings based
1992. And, really, little has changed since. He says: “To
on Fletcher’s time in Bermuda and his lifelong love
interpret weight, form, light and then the flow and line of
of water. Inspired by the crystal clear waters of the
the human form is the challenge.To create the body with
Sargasso Sea and the hidden coves and inlets of this
as much economy of line as possible is the ultimate goal.”
mysterious and magical island, Fletcher has embarked on capturing the essence of experiencing the ocean and
At the start of his career, Fletcher found rich
its myriad symbolism. He says ‘Water to me represents
source material in gymnastics, sports and dance. A
many aspects of humanity, from basic survival to myths,
watershed moment came in 1995 when he was asked
evolution,birth and death.Submerged and floating in water
by the Sadler’s Wells Theatre to paint a series based
is the closest most of us come to an other worldly experience.
around Flamenco dance company Paco Pena. This
I wanted to capture that feeling most of us have had along with
began a series of over a hundred paintings and drawings
touching the deep symbolism that pervades the oceans”
celebrating the art of Flamenco. Later, Fletcher switched focus to the world of ballet. He spent many hours in the
Interestingly, these paintings sit alongside others
rehearsal rooms, determined to reflect the craft of the
that are much more still. Evolving around the idea of
dancers as much as the glamour of their performances.
entropy;
This led to a long collaboration with The Royal Ballet
disorder, to create and then destroy, then to build again
and Darcey Bussell, who first modelled for him when
using the elements of water, fire, air and earth. His
she was just 23 and consequently invited him to attend
approach is multi-layered, a slow building of paint
the
gradual
decline
from
form
to
and texture; to observe the ‘infinite smallness and
“Even though the work, in its content, is becoming
bigness of things’ and to celebrate the ‘music of chance’
simpler, the paintings are harder to resolve, as the underlying
whilst paying homage to centuries old painting traditions.
expression becomes harder to achieve; layer upon layer of
Pieces such as The Breath of Shadows and The Light She
paint applied and rubbed off, then applied again” he says.
Brings are – on one level – simple portraits of female
“Even I don’t know how they will develop. They take on their
figures. But, says Fletcher, don’t mistake simple for easy.
own life, creating their own spirituality.”
The Secret Admirer study Oil and charcoal on Mylar 17 x 13
INCHES
/ 43 x 33 CM
The Darkest Light Oil and mixed media on panel 48 x 48 INCHES / 122 x 122 CM
The Defiant Oil and charcoal on Mylar 32 x 32 INCHES / 81 x 81 CM
Ataraxia Oil and mixed media on aluminium panel 48 x 48 INCHES / 122 x 122 CM
The Unknown Oil and charcoal on Mylar 32 x 32 INCHES / 81 x 81 CM
The Darkest Light study Mixed media on Mylar 32 x 32 INCHES / 81 x 81 CM
A Certain Slant of Light II Oil and charcoal on Mylar 24 x 34 INCHES / 61 x 86 CM
Indigo Nights II study Oil and charcoal on Mylar 17 x 13
INCHES
/ 43 x 33 CM
Ataraxia study Oil and charcoal on Mylar 32 x 32 INCHES / 81 x 81 CM
The Light She Brings Oil on panel 16 x 16 INCHES / 41 x 41 CM
The Breath of Shadows Oil on canvas panel 15 x 15 INCHES / 38 x 38 CM
Sargasso IV study Oil and charcoal on Mylar 26.5 x 23.5 INCHES / 67 x 60 CM
Sargasso III study Oil and charcoal on Mylar 30 x 30 INCHES / 76 x 76 CM
Sargasso V preparatory painting Oil and charcoal on Mylar 26.5 x 24
INCHES
/ 67 x 61 CM
Sargasso IV Oil, wax, sand, sargassum and acrylic gels on aluminium panel 48 x 48 INCHES / 122 x 122 CM
Sargasso V Oil, wax, sand, sargassum and acrylic gels on aluminium panel 48 x 48 INCHES / 122 x 122 CM
Lacrimea Rerum Oil and mixed media on panel 16 x 16 INCHES / 41 x 41 CM
Sargasso VI preparatory painting Oil and mixed media on panel 16 x 16 INCHES / 41 x 41 CM
Sargasso II preparatory painting Oil and charcoal on Mylar 33 x 32 INCHES / 83 x 81 CM
Sargasso I preparatory painting Oil and charcoal on Mylar 28 x 31 INCHES / 71 x 79z v CM
Catalogue created for the exhibition New Works 2020 6th - 24th Februar y at Catto Galler y 100 Heath Street, Hampstead London NW3 1DP Tel +44(0)2074356660 www.cattogaller y.co.uk ar t@cattogaller y.co.uk Inside cover photo by Nato Welton www.natowelton.com All ar twork Š Fletcher Sibthorp All rights reser ved. Except for purposes of review no par t of this book may be reproduced without prior permission from the ar tist.