2014
EXHIBITION FOREWORD :
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...
When writing a catalogue essay my approach is often one which adopts a measure of trepidation and a degree of humility. I have never felt this more than with the introduction to this exhibition by David Whittaker. It is a watershed.
The two years between Whittaker’s last solo exhibition; ‘A Brief Moment in the Exposure’, and this, have been full of maturation. In fact – beginning with our first show at Goldfish; ‘If This Life’, there has been an evolution through a particularly momentous period in his life. Whittaker’s transitions personally and professionally have been marked and are clearly ongoing. I am in no small way moved by Whittaker’s courage and immensely gratified to be hosting this exhibition.
During the last two years Whittaker has been adapting to diagnosis of gender dysphoria. This explicitly provides an invaluable context. These circumstances instill within the work a universally balanced viewpoint.
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 where this positions our species. The paintings represent the universal, metaphysical self. I emphasise universal, it is important to do so, Whittaker’s aim is always to capture an elusive ‘humanness’, to give shape to all our complex lives as witnessed in the muddle of the minds eye.
There is the visual language, then we have the poetic language of the titles – both dance together. ‘The Devadasi English Landscape’ references young Indian girls who are officially married to God, it makes an empathic statement about inescapable destiny, freedom of choice and commitment, this strongly echoes Whittaker’s commitment to art and circumstance. ‘Quite a Little Freaker’, heralds this inner acceptance - it’s ok to be different, we all are, beauty should be sought within. Any feelings of personal tragedy, entrapment or isolation (which we all feel) may be present but are offered up as a firm shoulder to be leant upon; as a voice of experience, understanding and servility. The three small mirrors in the exhibition titled ‘When Trains Kill Poems’ is an urgent and moving piece of work, which comments on those who internally suffer, urging them to share their pain, to not be isolated or lost to it. This is clearly deeply, empathetically felt and evident throughout Whittaker’s oeuvre. I spoke to someone recently who was transfixed by one of Whittaker’s paintings, she then said that she knew very little about art, but was struck by an inner beauty emanating from the piece. I related to that, it seemed such a simple, effective way to put it.
Whittaker has also recently relocated to a new studio which has brought with it an increase in scale – the suite of self portrait paintings are the largest and most ambitious works made by Whittaker to date. The fluidity of these pieces suggest a lake in which one sees mankind’s reflection. Laying down a marker or sending out an echo of this life, reflecting the messiness of existence alongside inner utopian desire and potential.
With this exhibition I believe that Whittaker has forcibly achieved what he has set out to do – to make something monumental about the human condition, something that has not been seen before. With integrity, fearlessness and honesty, he has placed himself well and truly on the front line. When we live in a day and age, where to do so is such a scarce commodity, I feel it is worthy of both recognition and embrace.
Perhaps it is best to sum up this introduction with Whittaker’s own words; “We are born in this life to do with it what we can. Of course we have the certainty of death which cannot be escaped, but in the meantime we must celebrate as much as possible”
Joseph Clarke. 2011
“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...
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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
When writing a catalogue essay my approach is often one which adopts a measure of trepidation and a degree of humility. I have never felt this more than with the introduction to this exhibition by David Whittaker. It is a watershed.
The two years between Whittaker’s last solo exhibition; ‘A Brief Moment in the Exposure’, and this, have been full of maturation. In fact – beginning with our first show at Goldfish; ‘If This Life’, there has been an evolution through a particularly momentous period in his life. Whittaker’s transitions personally and professionally have been marked and are clearly ongoing. I am in no small way moved by Whittaker’s courage and immensely gratified to be hosting this exhibition.
During the last two years Whittaker has been adapting to diagnosis of gender dysphoria. This explicitly provides an invaluable context. These circumstances instill within the work a universally balanced viewpoint.
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 where this positions our species. The paintings represent the universal, metaphysical self. I emphasise universal, it is important to do so, Whittaker’s aim is always to capture an elusive ‘humanness’, to give shape to all our complex lives as witnessed in the muddle of the minds eye.
There is the visual language, then we have the poetic language of the titles – both dance together. ‘The Devadasi English Landscape’ references young Indian girls who are officially married to God, it makes an empathic statement about inescapable destiny, freedom of choice and commitment, this strongly echoes Whittaker’s commitment to art and circumstance. ‘Quite a Little Freaker’, heralds this inner acceptance - it’s ok to be different, we all are, beauty should be sought within. Any feelings of personal tragedy, entrapment or isolation (which we all feel) may be present but are offered up as a firm shoulder to be leant upon; as a voice of experience, understanding and servility. The three small mirrors in the exhibition titled ‘When Trains Kill Poems’ is an urgent and moving piece of work, which comments on those who internally suffer, urging them to share their pain, to not be isolated or lost to it. This is clearly deeply, empathetically felt and evident throughout Whittaker’s oeuvre. I spoke to someone recently who was transfixed by one of Whittaker’s paintings, she then said that she knew very little about art, but was struck by an inner beauty emanating from the piece. I related to that, it seemed such a simple, effective way to put it.
Whittaker has also recently relocated to a new studio which has brought with it an increase in scale – the suite of self portrait paintings are the largest and most ambitious works made by Whittaker to date. The fluidity of these pieces suggest a lake in which one sees mankind’s reflection. Laying down a marker or sending out an echo of this life, reflecting the messiness of existence alongside inner utopian desire and potential.
With this exhibition I believe that Whittaker has forcibly achieved what he has set out to do – to make something monumental about the human condition, something that has not been seen before. With integrity, fearlessness and honesty, he has placed himself well and truly on the front line. When we live in a day and age, where to do so is such a scarce commodity, I feel it is worthy of both recognition and embrace.
Perhaps it is best to sum up this introduction with Whittaker’s own words; “We are born in this life to do with it what we can. Of course we have the certainty of death which cannot be escaped, but in the meantime we must celebrate as much as possible”
Joseph Clarke. 2011
ONLINE CATALOGUE (click below) :
ARTIST INTERVIEW FILM :
EXHIBITION VIDEO TOUR :
