D A V I D
W H I T T A K E R
A Beautiful Kind of Certainty
Everyday before I go to the studio I step into my local corner shop to pick up supplies, drinks, nutri-grain bars, etc, and gaze over the front covers of the newspapers. All the trouble and woe is there in front of me. Another soldier dies; a murder; a young girl falls in front of a train. All this seeps out and into the work I make. For me it’s a way through, a comment on this massive industrial species in ‘theatre’ (in battle / in war). “To slither along the edge of a straight razor and survive” is what Colonel Kurtz said. It’s what we are all doing anyway in our working week, in our homes, in our beds and every time we look in the mirror. We are what we are. I am what I am. The past few years has brought with it an increase in the confidence of the work, and, working within a group of artists on the rise is that perfect freak on the ceiling moment.
David Whittaker. 2011
The Devadasi English Landscape oil and acrylic on canvas 79 x 79 cm
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When writing a catalogue essay my approach is often
These paintings, primarily of the head,
one which adopts a measure of trepidation and a degree
generic
of humility. I have never felt this more than with the
condition, both the physical and the emotional
introduction to this exhibition by David Whittaker. It is
manifested. Primal, archetypal male attributes transcend
a watershed.
into a feminine space. This fusion informs us and allows
duality
confined
within
illustrate a the
human
us to contemplate where this positions our species. The The two years between Whittaker’s last solo
paintings represent the universal, metaphysical self. I
exhibition; ‘A Brief Moment in the Exposure’, and this,
emphasise universal, it is important to do so, Whittaker’s
have been full of maturation. In fact – beginning with our
aim is always to capture an elusive ‘humanness’, to give
first show at Goldfish; ‘If This Life’, there has been an
shape to all our complex lives as witnessed in the muddle
evolution
of the minds eye.
through
a
particularly
momentous
period in his life. Whittaker’s transitions personally and professionally have been marked and are clearly ongoing.
There is the visual language, then we have the poetic
I am in no small way moved by Whittaker’s courage and
language of the titles – both dance together. ‘The
immensely gratified to be hosting this exhibition.
Devadasi English Landscape’ references young Indian girls who are officially married to God, it makes
During the last two years Whittaker has been
an empathic statement about inescapable destiny,
adapting to diagnosis of gender dysphoria. This explicitly
freedom
provides an invaluable context. These circumstances
strongly echoes Whittaker’s commitment to art and
instill within the work a universally balanced viewpoint.
circumstance. ‘Quite a Little Freaker’, heralds this inner
of
choice
and
commitment,
this
Quite a Little Freaker oil and acrylic on canvas 79 x 79 cm
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acceptance - it’s ok to be different, we all are, beauty
ambitious works made by Whittaker to date. The
should be sought within. Any feelings of personal
fluidity of these pieces suggest a lake in which one
tragedy, entrapment or isolation (which we all feel) may
sees mankind’s reflection. Laying down a marker or
be present but are offered up as a firm shoulder to be
sending out an echo of this life, reflecting the messiness of
leant upon; as a voice of experience, understanding and
existence alongside inner utopian desire and potential.
servility. The three small mirrors in the exhibition titled ‘When Trains Kill Poems’ is an urgent and moving piece
With this exhibition I believe that Whittaker has forcibly
of work, which comments on those who internally
achieved what he has set out to do – to make something
suffer, urging them to share their pain, to not be isolated
monumental about the human condition, something that
or lost to it. This is clearly deeply, empathetically felt
has not been seen before. With integrity, fearlessness
and evident throughout Whittaker’s oeuvre. I spoke to
and honesty, he has placed himself well and truly on the
someone recently who was transfixed by one of
front line. When we live in a day and age, where to do
Whittaker’s paintings, she then said that she knew
so is such a scarce commodity, I feel it is worthy of both
very little about art, but was struck by an inner beauty
recognition and embrace.
emanating from the piece. I related to that, it seemed such a simple, effective way to put it.
Perhaps it is best to sum up this introduction with Whittaker’s own words; “We are born in this life to do
Whittaker has also recently relocated to a new studio
with it what we can. Of course we have the certainty of
which has brought with it an increase in scale – the
death which cannot be escaped, but in the meantime we
suite of self portrait paintings are the largest and most
must celebrate as much as possible” Joseph Clarke. 2011
In Storm in Glorious oil and acrylic on canvas 79 x 79 cm
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When Trains Kill Poems oil, acrylic, china marker and collage with lipstick, lipgloss and lipgloss applicators, eye shadow compact, paper towel on free standing mirrors 32.5 x 18.5 cm each (triptych)
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Take Me Back to the Start acrylic, collage and china marker on white card 21 x 29.5 cm each (triptych)
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The Fading Light acrylic, collage and china marker on white card 21 x 29.5 cm each (triptych)
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The Dreamtime oil and acrylic on wood panel 61 x 61 cm 14
Rivers of the Mouth oil and acrylic on wood panel 61 x 61 cm 15
One Imagine that Sets the Bar oil and acrylic on wood panel 61 x 61 cm 16
Swans oil and acrylic on wood panel 61 x 61 cm 17
Shot Rings out on a Cornish Sky You are Free Tonight You are Free Tonight oil and acrylic on wood panel 61 x 61 cm 18
Mares and Foals oil and acrylic on wood panel 61 x 61 cm 19
Angels Don’t Come Cheap in this Life oil and acrylic on wood panel 61 x 61 cm 20
Cover for Modern Painters oil and acrylic on wood panel 61 x 61 cm 21
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Kazuo Ohno Dancing as a Ghost
Haywain
acrylic, collage and china marker on white card
acrylic, collage and china marker on white card
21 x 29.5 cm
21 x 29.5 cm
I Called you from the Hotel Phone
Tether to my Art
acrylic, collage and china marker on white card
acrylic, collage and china marker on white card
21 x 29.5 cm
21 x 29.5 cm 23
Self Portrait One, The Silent Storm, 2011 (The Broads, Shifting Thumder, Cool, Sound of a Distant Jet Way Above) oil and acrylic on canvas 160 x 160 cm
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Self Portrait Two, Ghosts of the Dysphoria, 2011 (The Glebe Farm, After Constable, Team of Horses Through the Valley, Langham, Deep in England) oil and acrylic on canvas 160 x 160 cm
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Self Portrait Three, Stations of the Sex, 2011 (Salisbury Cathedral from the Meadows, After Constable, Engines Taking on Water) oil and acrylic on canvas 160 x 160 cm
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Self Portrait Four, Jewel Box, 2011 (The Broads, Thundery Showers, Late Afternoon, A Young Girl in Reflection, Poetics of the Past Never Forgotten) oil and acrylic on canvas 160 x 160 cm
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Towards an English Landscape
Symphony for the Well Being
acrylic and china marker on black card
acrylic and collage on black card
20.5 x 29.5 cm
20.5 x 29.5 cm
Last Words
The Christ
acrylic on black card
acrylic, collage and china marker on black card
20.5 x 29.5 cm
20.5 x 29.5 cm 33
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Through the Silent Shot
The Nun
acrylic and collage on black card
acrylic, china marker and linen net on black card
20.5 x 29.5 cm
20.5 x 29.5 cm
You Can Open Your Eyes Now
We are What we Are (Towards an English Landscape)
acrylic, collage and linen net on black card
acrylic, collage and linen net on black card
20.5 x 29.5 cm
20.5 x 29.5 cm 35
DAVID WHITTAKER
Born in 1964. He is self taught.
SOLO EXHIBITIONS
2011
A Beautiful Kind of Certainty
2005
Royal Academy Summer Exhibition, Piccadilly, London
2009
Brief Moment In The Exposure
2004
The Discerning Eye, Mall Galleries, London
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2003
Debut Show, Gallery One O Two, London
2001
Gallery Excalibur, Stressa, Italy
2000
Falmouth Art Gallery, Cornwall
1998
Open Studio, St Ives, Cornwall
1997
Open Studio, St Ives, Cornwall
2000
One Foot Two Show, Mafuji Gallery, London
1996
Open Studio, St Ives, Cornwall
1999
Hidden Art (collaboration of workshops and studios in London)
1992
Hyde Park Gallery, London
Inaugural St. Ives Festival Show, The Mariners Gallery, St. Ives 2002
Christmas Show, Lemon Street Gallery, Truro, Cornwall 2001 Show for Reuters, Britart, Brick Lane, London
Millennium Exhibition, Mafuji Gallery, London Summer Show, Wimbledon Art Group, London Selected Artists, Raw Art Gallery, London
SELECTED GROUP EXHIBITIONS
Gallery Show, New Millennium Gallery, St. Ives, Cornwall 1998
Summer Show, Highgate Fine Art, London
2011
London Art Fair, Business Design Centre, Islington
1994
Peter Blake Gallery, Laguna Beach, California, USA
2010
The House of Fairy Tales, Millennium, St. Ives
1993
Gallery Show, Salthouse Gallery, St. Ives, Cornwall
London Art Fair, Business Design Centre, Islington 2009
The Lock Up, London Mixed Exhibition, Millennium
PUBLICATIONS
London Art Fair, Business Design Centre, Islington NSA Exhibition, Royal West of England Academy, Bristol
2011
A Beautiful Kind of Certainty catalogue, published by Millennium
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2009
Brief Moment In The Exposure catalogue, published by Millennium
2008
Winter Exhibition, Millennium
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London Art Fair, Business Design Centre, Islington
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2006
Dictionary of Artists in Britain since 1945, David Buckman
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0RYH *ROGĂ€VK DW 9\QHU 6WUHHW /RQGRQ A Fine Line, Artonomy, Truro
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All work made from 2010 - 2011
Published by Millennium to coincide with the exhibition ‘A Beautiful Kind of Certainty’ by David Whittaker All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publishers
Printed by Active Colour (www.activecolour.co.uk)
ISBN 978-1-905772-44-5
Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden T. S. Eliot. Burnt Norton
MILLENNIUM Str eet-an-Pol St. Ives Cornwall 01736 793121 m a i l @ m i l l e n n i u m g a l l e r y. c o . u k w w w . m i l l e n n i u m g a l l e r y. c o . u k