David Kim Whittaker The Fear and the Stable

D AV I D K I M W H I T TA K E R T H E F E A R A N D T H E S TA B L E

D AV I D K I M W H I T TA K E R

THE FEAR AND THE STABLE

PREFACE

O per a G aller y is delight ed t o pr esent 'The F e a r a n d t h e

St able' by David Kim Whit t aker in what will be h is f irs t exhibit ion in New Yor k Cit y.

David Kim Whit t aker is one of t he m ost e n t h ra llin g and

int r iguing

ar t ist s

of

t his

gener at ion,

in t u it iv e ly

per pet uat ing and r eshaping t he t r adit ion est a blis h e d by

Br it ish Rom ant ics including Fr ancis Bacon, Pa u l Na s h a n d G r aham Sut her land. 'The Fear and t he St ab le ' in c lu de s

a new body of t he ar t ist 's wor k m ade spe c if ic a lly f o r t his exhibit ion.

These com plex wor ks juggle duel st at es o f in n e r a n d out er calm and conf lict , of f er ing us a glim pse o f s t re n gt h

and f r agilit y, peace and discor d, t he con s c io u s a n d

subconscious, t he m asculine and t he f em in in e t h ro u gh ar eas bot h delicat e and int r icat e, alongsid e t h e mo re

physical and of t en br ut al gest ur al passages of pa in t . T h e s e ubiquit ous st at es of conf lict ar e ar guably r e in f o rc e d by

Whit t aker ’s gender dysphor ia and t he per so n a l s t ru ggle

wit h a condit ion t hat Whit t aker has lear ned t o liv e wit h t hr ough his endeavour of expr essing som eth in g bigge r

t han oneself t hr ough paint ing. The r esult is a u n iv e rs a l hum an por t r ait of t he 21 st cent ur y, one which e mph a s is e s t he split ut opian and dyst opian nat ur e of t he t ime s t h a t we live in.

We wish t o t hank t he ar t ist wholehear t ed ly f o r t h is

exhibit ion; an em phat ic achievem ent which r e in f o rc e s h is r ising st at us as a ‘m oder n m ast er ’. We t ake gr e a t ple a s u re in shar ing it wit h you.

G illes Dyan Founder and Pr esident , O per a G aller y Gro u p Am os Fr ajnd Dir ect or , O per a G aller y New Yor k

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INTR ODUCTION

The f ear and t h e s ta b l e . W h e re d o w e g o to seek so lace f r om t he g ro w i n g fe a rs o f th e 2 1 st c entury?

A r e t he walls th a t w e l o o k to b u i l d a ro u nd our ‘ gar d en' f or p r i v a c y o r fo r p ro te c ti o n ? If w e bui l d them t oo hig h th e y mi g h t b l o c k o u t th e l i ght.

O ur ob ject iv e l y fo c u s e d c u l tu re s e e m s ever i n cr eas ing ly ob s e s s e d w i th l o g i c a l o b s ervati on and r es p ons e . A tte m p ti n g to fi n d s i mpl i sti c and r elat ab le c o n c l u s i o n s to a l l th e bi g and the lit t le unk n o w n s . M u c h o f th e w o rl d bays for t he ans wers , a g re e d y g ra b b i n g a t straw s wit h t he hop e th a t w e ma y b e l e d s o mew here b et t er t hr oug h th a t k n o w i n g , i g n o ri n g the fact that we m ay w e l l b e l e d s o me w h e re w o rse. For a p ower f ul f low i n g c u rre n t o f th e m a n y and the m os t , it s eem s th a t th e m y s te ri e s o f th e u n i verse ar e only ev er j u s ti fi e d w h e n a n s w e rs c an be clear ly p oint ed a t a n d me a s u re m e n ts taken.

When t hing s a re p ro v e n . P ro o f – I’ v e never re ally und er s t o o d i t. F o r me i t n e v e r s e ems to p r ov e m uch a t a l l . T h e tru e n a tu re o f real i ty i s and alway s h a s b e e n u tte rl y b e y ond my com p r ehens ion . T h e re a re fe w th a t ta k e comfort i n t he unk nown s o f th e u n i v e rs e , re v e l l i n g i n the m any q ues t ion s , k n o w i n g th a t th e a n s w ers are so m ehow of les s i m p o rta n c e . It i s i n th e mystery we b at he. M y l i mi te d u n d e rs ta n d i n g o f th e true nat ur e of t he u n i v e rs e i s th a t e v e ry th i n g and any t hing is p o s s i b l e a n d th a t n o th i n g i s fi xed.

S o t r ut h, as f a r a s i t c a n b e c o n te m p l ated by our r elat iv ely s ma l l i n te l l i g e n c e , i s that the m et ap hy s ical a b s tra c t i s mo re a c c u ra t e than m eas ur ed emp i ri c a l k n o w l e d g e . M e ta physi cs cont inues t o a s k ‘ w h y ’ w h e re m u c h o f s ci ence halt s . I t d oes n’ t e v e n e x p e c t th e a n s w e rs . For me that is wher e t ru th h i d e s , i n th e a c c e p ta n ce that ‘ a ll’ cannot b e p i n n e d d o w n a n d w i l l , p erhaps, alway s b e b ey o n d u s . In th e v o i d q u esti ons and t he f ait h t h a t e n s u e s , o ffe r ma n y fa r more 6

comfort than proof. C arl Jung w rote in ‘The A rchetypes and the C ol l ecti ve U nconscious’; “ If i t be true that there can be no metaphysics transcendi ng human reason, i t i s no l ess t r ue t hat there can be no empi ri cal know l edge th at is not already caught and limited by the a priori structure of cogni ti on.”

A l l egori es of progress have been the lam ent of arti sts for many years, the Frankens t ein t ale of man(ki nd) messi ng w i th the bi gger pict ur e w i thout fear of thought of consequence . Like a smal l chi l d w anti ng to pi ck up the puppy, bones can be easi l y broken, w i th or w i thout m alice.

There are some that w atch i n horror fr om t he byl i ne, shouti ng at us to l earn some ur gent humi l i ty, w ai ti ng for us to grow up and r eplace the cl umsi ness for grace.

D avi d K i m W hi ttaker i s the qui nte ssent ial ontol ogi cal arti st w hose w hol e l if e has been a dedi cated exami nati on i nto what it i s to be a human bei ng, w hi l st gree t ing t he practi cal i mpossi bi l i ty of the task. Inst ead t he remai ni ng (no smal l ) task has been t o cat ch the moth i n the net for the bri efest of m om ent s, accepti ng that i t must once agai n be s et f r ee.

In an earl y i ntroducti on I once w rote fo r David K i m I i ncl uded the fol l ow i ng from Lew i s Car r oll’s 1865 cl assi c ‘ A l i ce’ s A dventures i n W onder land’; “ W ho are YOU ?” sai d the C aterpi l l ar. This was not an encouragi ng openi ng for a conver sat ion.

A l i ce repl i ed, rather shyl y, “ I--I hardl y know, sir , j ust at present-- at l east I know w ho I W AS when I got up thi s morni ng, but I thi nk I must ha ve been changed several ti mes si nce then.” The st or y of l i ttl e A l i ce and her j ourney through W on der land, posi ts the noti on that w e are w hat w e dr eam w e w i l l become w hen open or suscepti ble. That i denti ty i s ambi guous, i nternal and ephem er al,

our own war r en t o explor e, but wher e som e of t he t unnels r em ain blocked consciously or unconsciously. Per haps, t hr ough ar t t hese t unnels can be accessed. Philosophically it is an int er est ing concept t hat ever yt hing we exper ience can inf or m and indeed change who we ar e, and r esult in an ever - expanding m aze of t he self . Like Lor enz’s ‘But t er f ly Ef f ect ’ which pr oposed t hat one f lap of a but t er f ly’s wings can change t he weat her f or ever – any m at t er of st im ulus can alt er and inf or m who we ar e t o becom e. We ar e all in a const ant st at e of f lux or m et am or phosis. Her aclit us ar gued t hat change was ubiquit ous; " You cannot st ep int o t he sam e r iver t wice”. So I can't t ell you who I am , or who David Kim Whit t aker is, or expect you t o be able t o of f er m e t he sam e ser vice. I t all m oves ver y f ast indeed.

O n t he t able in his st udio is a clipping of a phot ogr aph of Alice Liddell at age 9 ( The r eal per son who inspir ed Car r oll’s book) . I ask David Kim why t he pict ur e sit s t her e, m odest ly enshr ined. He explains: " t her e she is at t he st ar t of her lif e, innocent and clear ly f ull of im aginat ion and possibilit y, alive and looking back at you, but now she’s gone and t he r est becom es a hist or y alm ost lost - like a t r ail of vapour , but her whisper s echo’. Lif e and it s t r ansience is what David Kim gr abs hold of ; t he paint ings ar e a r abbit hole, which can always be escaped int o.

M et am or phosis r em ains a t hem e wit hin t he wor k, but also Whit t aker 's lif e ( t he t wo ar e inext r icably linked) . O ver t he past 10 year s Whit t aker has been in a st at e of physical and psychological developm ent since an of f icial diagnosis of gender dysphor ia. O ut side of his vocat ion as an ar t ist , in t he day- t o- day, David Kim lives as

‘Kim ’, a wom a n . W it h in t h e a rt wo rld Da v id K im is accept ing a n d e mbra c in g o f t h is ‘t ra n s ’ s t a t e .

I t is what it is , n o n bin a ry , n e it h e r o r bo t h , a n d explicit ly pr o v ide s a n in v a lu a ble u n iv e rs a l over ar ching c o n t e x t t o t h e wo rk . I e mph a s is e univer sal, it is impo rt a n t t o do s o , a s t h e s e paint ings ar e f o r, a n d o f , a ll o f u s . W h it t a k e r’s com plexit y, i n t e grit y a n d f e a rle s s n e s s o f f e r a dist inct ive a n d o rigin a l v o ic e . A s F rie dric h Niet zsche wro t e in ‘T h u s Spo k e Za ra t h u s t ra : A Book f or All a n d No n e ’; “ O n e mu s t s t ill h a v e chaos in one s e lf t o be a ble t o giv e birt h t o a dancing st ar ” .

These paintings, primarily of the head, illustrate a generic duality confined within the human condition, both the physical and the emotional manifested. Primal, archetypal male attributes transcend into a feminine space. This fusion informs us and allows us to contemplate the achievement and development of our species.

Whittaker describes his studio trials as an endless artistic search for something as yet unseen where the works are born from moments of intense creativity where they are pushed as far as possible. He finds the window to capture the image 'relatively short before it disappears into itself.' Moments of darkness and joy, from the cradle to the grave. The weeping, the brave face. The unpredictable nature of being. The complexities of gender. Thought and emotions, personal and universal – this is what David Kim Whittaker describes as ‘the rapture of life’.

The studio walls have recently be e n c le a re d o f a plet hor a of ico n ic ima ge ry , wh ic h f e d t h e a rt is t 's m ind and sou l a n d a c t e d a s s t imu lu s , c re a t in g an inner san c t u m e c h o in g t h e min d's e y e , t his clear ing e mph a s is e s W h it t a k e r’s gro win g t r ust t o dr aw f ro m wit h in bu t a ls o t o c le a n se.

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There is, however, always a sense of the world outside, as his studio hovers in a former industrial office space over the streets of Newquay, a typical weathered seaside town in the far west of England. There is a sense of an embracing of this literal ‘inner’ and ‘outer’ duality in the mark making, a celebration that perhaps the selfexpressions that we see on the streets; the tattoos on flesh and vestiges from spray cans and marker pens run parallel to the marks made by alternative civilisations on indigenous tribal skin, in rococo sgraffito and scratched on to primeval cave walls. That we are merely another tribe paying homage to our past and our future and recording our lives with our individual markings, and all these markings express our uniquely human, universal, story. As Georg Hegel once said it “World history is the record of the mind's effort to understand itself”.

heads become tw o-w ay mi rrors – a l i fe’ s m om ent mutates and becomes a smal l refl ecti on on t he w hol e of humani ty.

Existence is where the inner and the outer worlds collide. Where the messy web of all that envelopes us, smothering and comforting, tearing and stroking, takes place. The self is the canvas placed at the centre of this universal battle.

Whittaker represents this with fine, intricate, representational painting alongside erratic, gestural, impasto, seemingly violent mark making.

These differing techniques denote a conflict but also reflect a place where harmonic fusion exists. We get to feel the blurring celebratory and melancholic power of memory, the moments that aid transcendence and at the same time hint at our primal element. The ghostly images of places once visited or perhaps seen third hand at the turn of a page. Scraps of paper torn from tales once read, a story that may have moved or merely caught peripheral attention, all build the temporal and spiritual structure. These fragmented human

D avi d K i m W hi ttaker’ s ambi ti on i s to m ake somethi ng monumental about the hum an condi ti on that has not been seen bef or e. To make pai nti ngs that l ay dow n a marker or send out an echo of thi s l i fe, refl ecti ng some of t he messi ness of exi stence al ongsi de i nner ut opian desi re and potenti al . I’ ve seen, up cl ose, t hat maki ng w ork has hel ped W hi ttaker to com e to terms w i th hi s ow n compl ex exi sten ce. An essence has been captured, i t w i l l f or ever remai n a w i ndow for others to peer t hr ough and i n the refl ecti on of these tabl eaus, per haps you w i l l catch a gl i mpse of yoursel f t hr ough thi s shari ng. The arti st has dropped t he shi el d of pri vacy and protecti on, al l owing f or us to momentari l y remove those w al l s ar ound oursel ves. The nature of the R omantic is t o yearn for w hat seems out of reach, eve n m or e so i n the grow i ng storm of change.

W hi ttaker’ s w ork marks a very personal jour ney, one that speaks of the uni versal , but led by the arti st' s fi rsthand and vi cari ous exper ience of the w orl d around and w i thi n hi m. However ‘ The Fear and the Stabl e’ emphasi ses a gr owing fear of w here w e are al l goi ng and a gr owing, survi val l ed, urgency for i nner and outer peace.

Indi vi dual stori es about the mundane and t he w ei ghty, tri vi al i ty and daydream col l i de wit h loss and sufferi ng. Fragi l i ty and thoughts of escape.

The pai nti ngs are heavy and someti mes t r agic, w hi l st sti l l remai ni ng comforti ngl y pr osaic.

Through thi s shari ng w e are proposi ti o ned t o contempl ate that w e may be i sol ated bu t we ar e not al one i n bei ng so.

J o seph C l arke, 2017/18 10

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T H E F E A R A N D T H E S TA BL E

T h e ro o m i s a stabl e, to w ake i nto sunl i ght, from th e fe a rs o f the ni ght. C l osi ng mouth, dry l i ke a

S u m m e r' s a i r. Our w orl d, w hat w e are, the fear p a s s i n g b a c k to the boarded up dreams. Today H e a v e n i s ful l so I must go out i n to the street

a n d s h a k e t he day, and pay my w ay, before the

n i g h t re tu rn s and the fear. For I am here, under th e s tra w a gai n.

I fe a r fo r th e shi ps now . The hurri cane draw s

n e a r. W ra p ped i n my bed but cannot sl eep.

A d a m o f unforgi vi ng dreams seep from the

s h a d o w s o f the w orl d undue. The fear of cancer, a c i d a d d i c t ed tri gger fi gures, throw i ng thei r

c a rd s i n to the w el l . C hi l dren of the pi xel ated g e n e ra ti o n , armed w i th an i Phone. Phantoms

w ri th i n g i n the di rt charged ai r of si mul ated w o rl d s . C ro w ded ski es, torn l i mbs scatter the

fre e w a y s , faster cars, mi crophone bras. You

l a u g h n o w , l augh l oud, but he doesn' t l i sten a n y mo re . H i s sheds are l ong gone. W e are

w h a t w e m a de oursel ves. A n i mage refl ected i n a l l o u r c l e verness. A sti gma i n the shadow ed s ta b l e s o f manki nd.

L e t m e g o to sl eep. Let me go back to the bi bl i cal

y a rd s . L e t m e ri de the ghost trai n once more.

L e t m e h o l d my mothers hand agai n. Let me free fro m th e d a unti ng pai n. Let me di sappear i n to th e d a rk n i ghts rai n.

D avi d K i m W hi ttaker, 2018

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AN ENGLISH WORK (ORPHEUS LOOKS BACK) 2018 . oil and acrylic on canvas . 72.8 x 72.8 in | 185 x 185 cm

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AN ENGLISH WORK (EURYDICE) 2018 . oil and acrylic on canvas . 72.8 x 72.8 in | 185 x 185 cm

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QUAI BRANLY HEAD I

QUAI BRANLY HEAD II (FEASTING)

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm 19

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QUAI BRANLY HEAD III (JUG HEAD)

QUAI BRANLY HEAD IV (VINTAGE GIRL)

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm 21

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QUAI BRANLY HEAD V

QUAI BRANLY HEAD VI (BROOCH FOR MOUTH)

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm

2018 . oil, acrylic, collage, pencil on primed wood panel . 22 x 22 in | 56 x 56 cm 23

THE NONBINARY I 2018 . oil and acrylic on primed wood panel . 36.2 x 36.2 in | 92 x 92 cm

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THE NONBINARY II (THE OOLALA) 2018 . oil and acrylic on primed wood panel . 36.2 x 36.2 in | 92 x 92 cm

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THE NONBINARY III (METHODS OF APPLICATION) 2018 . oil and acrylic on primed wood panel . 36.2 x 36.2 in | 92 x 92 cm

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HORSE BECOMING FIGURE 2018 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm

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GORILLA (MY LAST DAY, EVENTS MAY 2016, CINCINNATI) 2018 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm

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HEADHUNTER 2018 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm

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SAVAGE UNION (DO NOT REMOVE THE HUMAN ELEMENT FROM THE EQUATION) 2017 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm

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SAVAGE UNION 2017 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm

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SEEING THE MAASAI (I - VI) 2017 . acrylic and collage on paper . 11.8 x 8.3 in | 30 x 21 cm each 40

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The MARY GODWIN TRIPTYCH (PHANTASM OF A MAN / CHRISTABEL / WAKING DREAM) 2018 . oil, acrylic, collage on primed wood panel . triptych (each panel): 36.2 x 26.2 in | 92 x 66 cm 42

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THE BULLFIGHT

pier cing t hunder t hunder The pissing pissing inin t he t he du du AA pier cing . . The s tsyt y yellow dir dir Thunder ous, mm onst r ous, bla bla yellow t .t . Thunder ous, onst r ous, c kc k idnight kicking. kicking. Blood Blood f irf ir ed lungs. lungs. En E gin n gin mm idnight ed e se s winding down. down. Clowned Clowned f ollies f ollies t aunt t aunt be ba eu a tuie t ie winding ss r owed. The The char char ge inin again. again. Red Red f la fla gge arar r owed. ge gge dd oonsr apt r apt pain.I tIst 'slast lastt r tyr yt ot ogo godign dign mm oons urur e eininpain. if if ieie d.d.

Likemm achineguns gunsf irf ir ed,velvet velvetblacks blackst urn t u rnrere Like achine ed, d,d, onetlily lilypools poolswell wellinint he t hebeast beast asasMM onet 's'seyeey se.s .I nI n andeurofofgolds goldspear pear whit het wists t wis t swit wit grgr andeur lslsofofwhit e,e,he hh spear Som t ur away,som som sust ain,likliek ef lie f lie spear . .Som e et ur n naway, e esust ain, ss ona aDalĂ­, Dali,wait wait ingf or f ort he t het our t our niquett ot obre bre on ing niquet a ka k open,like likea awat wat f allofofblood bloodf or f ort he t hego g ds o dst ot o open, erer f all bat he.This Thislegend legendorordelusion delusiondances dancesde de liriu m, bat he. liriu m, cat ching him him inin t he t he chest chest our ed h o h rs o rs cat ching . . ArAr mm our ed ee posit ions like like a a chess chess piece. piece. MM her t ht e h ye'll y 'll posit ions otot her nevert ake t akemm alive.Shar Shar ayer nw o wf of ro r never e ealive. e emm y yprpr ayer s sno t hemm om entisisher her hear bur s wa llo t he om ent e.e.MM y yhear t tbur nsnsasasI Isw a llo ww t heblood, blood,f or f ort he t helove loveI Inever neverhad. had. t he

DavidKim KimWhit Whit t aker 2018 David t aker , ,2018

BEFORE THE BULLFIGHT (DANIEL GARCIA NAVARRETE) I & II 2017 . oil, acrylic, collage, pencil on board . 12 x 12 in | 30 x 30 cm each 44

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Nurture Feral I Nurture Feral I oil and acrylic on canvas . 122 x 122 cm | 48 x 48 in

oil and acrylic on canvas . 122 x 122 cm | 48 x 48 in

THE TRINITIES FOR VOYAGER TWO (ARE WE LETTING THE WORLD SLIP THROUGH OUR HANDS) 2018 . oil and acrylic on canvas . 48 x 48 in | 122 x 122 cm 46

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84

BIOGRAPHY

b. 1964 David Kim Whittaker was born and lives in Cornwall, England

SELECTED SOLO EXHIBITIONS 2018 2017

2015 2014 2012 2011 2009 2008 2001 2000 1992

The Fear and the Stable, Opera Gallery, New York The Flesh To The Frame: Part 1: In The Existence, Opera Gallery, London Part 2: The Primal Vortex of Us, Opera Gallery, Paris A Portrait for Human Presence, Fondazione Mudima, Milan Portrait for Human Presence, Anima-Mundi, St Ives Nature of the Life Pavilions, Millennium, St Ives A Bird In The Mammal House, Millennium, St Ives A Beautiful Kind of Certainty, Millennium, St Ives Brief Moment In The Exposure, Millennium, St Ives If This Life, Goldfish, Penzance Gallery Excalibur, Stressa Falmouth Art Gallery, Cornwall Hyde Park Gallery, London

SELECTED GROUP EXHIBITIONS 2018

2017

2016

2015

2014

2013

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The Monaco Masters Show, Opera Gallery, Monaco Art Central, Hong Kong Portrait, Opera Gallery, New York The Monaco Masters Show, Opera Gallery, Monaco Mixed Winter, Anima-Mundi, St Ives Art Miami, Miami Britartnia, Opera Gallery, London From Silence, Herrick Gallery, London Mixed, Anima-Mundi, St Ives ART15, London Suspended Sentences, Turners Warehouse, Newlyn I, Truro Festival, Truro ART14, London Mixed, Millennium, St Ives Artists Make Faces, City Art Gallery, Plymouth (Curated by Monica Kinley OBE) The Lock Up 3, The Ivy, London

2012 2011

2010 2009

2008 2007 2005 2004 2003

2002 2000 1999 1998 1994 1993

Mixed, Millennium, St Ives NOAC (First Prize Winner), Pallant House, Chichester The Discerning Eye (invited), Mall Galleries, London Mixed, Millennium, St Ives The Lock Up 2, Red Bull Studios, London Unchartered Landscape, NSA at St Ives Society, St Ives The House of Fairy Tales, Millennium, St Ives The Lock Up, Eastcastle House, London Mixed, Millennium & Goldfish, Cornwall NSA at Royal West of England Academy, Bristol Mixed / No Theme, Goldfish, Penzance Move, Goldfish at Vyner Street, London Summer Exhibition, RA, Piccadilly, London The Discerning Eye, Mall Galleries, London Debut, Gallery One O Two, London St. Ives Festival Show, The Mariners Gallery, St Ives Show for Reuters, Britart, Brick Lane, London One Foot Two Show, Mafuji Gallery, London Raw Art, London Mixed, Highgate Fine Art, London Mixed, Peter Blake Gallery, Laguna Beach Mixed, Salthouse Gallery, St Ives

SELECTED PUBLICATIONS 2018 2017

2014 2012 2011 2009 2008 2007 2006

The Fear and the Stable (Opera Gallery) The Flesh to The Frame (Opera Gallery) A Portrait for Human Presence (Fondazione Mudima) Nature of the Life Pavilions (Millennium) Bird In The Mammal House (Millennium) A Beautiful Kind of Certainty (Millennium) Brief Moment In The Exposure (Millennium) If This Life (Goldfish) Move (Goldfish) Dictionary of Artists in Britain since 1945, David Buckman

PUBLIC COLLECTIONS Falmouth Art Gallery, Cornwall Plymouth City Museum & Art Gallery

Published by Opera Gallery to celebrate David Kim Whittaker 'The Fear and the Stable' at Opera Gallery New York All rights reserved. Except for the purposes of review, no part of this book 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.

Š: Images of paintings: David Kim Whittaker Portrait photographs: Joseph Clarke Words: Opera Gallery, Joseph Clarke, David Kim Whittaker Cover Image: Headhunter, 2018, oil and acrylic on canvas, 48 x 48 in | 122 x 122 cm Design: Joho

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