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| Paul Critchley | |
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Rainford, England 1960 |
| About the Artist | |
The young are judged on their potential, the old on the quality of their productivity; art is one of those subjects where experience counts. What did I know when I left art college at the age of 22, other than I wanted to go to London, the Mecca of the Art World? However two things prevented me: Firstly it was too expensive and secondly it would have been too easy. I realised that if I was to do anything I would need complete isolation in order to develop my own voice, so I got a part time job and three years later I went to Berlin which, at that time, was an island-city behind the Iron Curtain. Not knowing a single soul and even less of the language I spent a year in splendid isolation. I was free from both the fetters of obligation and the expectations of others, it was ideal for me: the new start I felt I needed. At the time I even toyed with living in East Berlin but the bureaucracy and my limited school German made it impossible - plus the fact that nobody ever went to live in the East. I was learning more than the rules of perspective; I was putting myself in perspective and learning about life outside of my previous narrow academic life: school, college, teaching. A chance encounter in Berlin led me to move to the south of France. From there I moved to Holland, Italy and then to Barcelona. |
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| Click to enlarge images (if larger image has been loaded) |
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Disconnected
2002 |
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| The maxim that the artist only paints one picture in his/her life and the rest are variations on it must be true - at least in my case so far. It was only a matter of time before I combined the two ideas of a corner painting and a door painting. A door opens and closes; allows entry and denies it, we take doors for granted, we open and close them without giving them a second thought - other than to lock someone or something in or out. Instead our attention is normally focused on what lies behind and to where they lead. In this series of paintings the doors actually open and close giving them an extra dimension. This idea of a mobile panel adds another layer to both the story and to the paintings complexity, especially when the doors are shaped in perspective, as this optical illusion means that the doors never appear to be fully closed which in itself is already quite unsettling. In “Disconnected”, a corner painting, i.e: two planes which meet at 90° and which hangs in the corner of a room, is a door tucked in the corner; but closing this door to deny access from one stairway merely shifts the problem as another doorway is revealed giving access from a different set of stairs. It may be very efficient but it is also very frustrating and quite disturbing as it is impossible to close the door. Even the telephone is frustrating because one cannot use it to dial out. Perhaps this could be a corner somewhere in a house shared by Mr. Duchamp & Mr. M.C. Escher’s.
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Miss America at Home
2005 |
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| Think of an American icon and Coca Cola, Microsoft, Kodak and other such brand names come to mind. Glamour and celebrity; Hollywood and fame - if only for a short time - are just as iconic and marketable as products. Miss America sums up all that is glitzy and beautiful. The Beautiful People; the bright and sparkling smile, young and optimistic, the all American Barbie Girl. But people are different to their image, the image is immortal but what happens to all those icons of yesterday? Old icons never die they simple fade away.. |
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Early Summer
1997 |
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| To paint a landscape which is in front of one requires a lot of analysis; a lot of selection and rejection. Never mind the result, I recommend to anyone to try to paint a landscape en plein aire because it is a tremendous exercise in abstraction, especially because the information is constantly changing. It is inevitable that these lessons will carry themselves over into other work, and so imperceptibly, painting by painting, month by month, things change and develop. Since my introduction to painting en plein aire every year I make a point of painting landscape, not just to get out of my studio and into the sun but also to take my mind away from studio style picture making and force myself to solve different problems. At first I used to separate the two styles, but in the window paintings which open and close to reveal a landscape, I combine the two.
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The Naked Bed
1997 |
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| There's not much to be said about this painting as it has been stripped bare, all that's left is an atmosphere. The painting is currently on loan to the Museum 'Kunstlicht in de Kunst' Eindhoven, The Netherlands. |
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The Voyeur
2004 |
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| Voyeurism is considered a perversion by some and a diversion by others. The lady in the shower didn't close the door properly - or did she deliberately leave it ajar? Who is the bigger pervert, the voyeur for intruding on a woman's privacy or the woman for being an exhibitionist because she left the door open? That's not for me to answer but for you because it's your reflection caught in the mirror hanging above the sink, you're the voyeur. This mirror makes the painting interactive, and you, who is looking at the painting have become part of the story. Do you feel as though you are a pervert for peeking in or that the woman is to blame by leaving the door ajar? If you have a problem with this painting maybe you should seek help, Freud must have an answer. |
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Peeping Tom
2006 |
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| Over the years I have painted interiors in a fairly conventional way; by using wide perspectives, and also by painting individual objects and juxtaposing them with other individual paintings to recreate a scene but each one of these pieces had to be at real scale to re-create the feeling of an interior. The painting illustrated here is part of a commission I'm currently working on and the idea is to make pictures of interiors out of many pieces. The first multiple piece painting I did was in 1987, and that was only 3 pieces however it was an idea I never really developed, but now that I have this commission to paint 24 large pictures for the new P & O cruise liner Ventura I've resurrected the idea of using multiple pieces in order to make a more complete story of the interior. |
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The Southern Hemicube - Political
2006 |
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| This is one painting in a series of four which depict the globe in perspective, the other paintings are : The Northern Hemicube - Political, which was entered in the last round of Showdown; The Northern Hemicube- Natural & The Southern Hemicube - Natural, all of these can be seen on my web site paulcritchley.com as part of a project for the new P&O cruise ship Ventura. |
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Antique Man
1987 |
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| A person is much more than the component parts |
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The Incomplete Story
2007 |
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Naked Reality
2008 |
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| Post 9/11, post GWB and now in the middle of the biggest financial crisis since 1929. First Enron then Lehman Bros., and then Madoff. The house of cards is in danger of falling down around us. It's time to cut through all the pretentions; the nice talk about how this or that looks; the sweet talk about this years fashions; the glamour and the trivia. It's time to strip everything down to the basic truth; reveal the hard core facts, leaving out the sentiment to get to the Naked Reality so that we can see who we really are, where we are and where we are going.
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| Education and biography | |
| Education: 1978 - 1979 St. Helens College of Art & Design 1979 - 1982 Coventry Polytechnic, B.A. (Hons) Fine Art Individual Exhibitions 2007 Prudential HQ, London 2005 Galerie Vieleers, Amsterdam 2003 Broadway Windows, New York Museum Kunstlicht in de Kunst, Eindhoven Galerie Maas, Rotterdam Dutch-Art.nl/Ahrend, Rijswijk, Netherlands 1997 Galeria Mar, Barcelona Casa de Cultura, Alfa�s del Pi, Spain Palais des Congr�es, Lourdes, France 1996 Xauen, Galer�a de Arte, Granada, Spain Galer�a Asensi, Castell�on, Spain Zahnart, Grimma, Germany 1995 Object Art Enterprises, Brisbane, Australia 1994 Haus Havemann, Lu�neburg, Germany 1993 Casar, Galer�ia de Arte, Alicante, Spain 1991 La Galerie, Fontvieille, France 1990 Hall Richards Gallery, London 1989 Galerie Rath, Cologne 1988 Galerie Rath, Cologne 1987 Haus Hildener Ku�nstler, Hilden, Germany Two Man Exhibitions 2006 Dutch-Art.nl, Rotterdam (Marcel Warmenhoven) 2005 McHardy Sculpture Company, London (Antonio Lopez) 2000 Palais des Congr�es, Lourdes, France (Harold Critchley) 1999 Galeria D'Art Mar, Barcelona (Harold Critchley) 1994 Galerias del Este, Valencia (Artur Duch i Puig) 1993 Galerias del Este, Valencia (Artur Duch i Puig 1985 White Space Gallery, London (Michael Downs) Art Fairs 2007 ArtDC, Washington DC, with Scott Richards 2007 Los Angeles Art Show Contemporary Art 2007 Art Miami Art Fair 2007 Palm Beach 3, Contemporary Art Fair 2006 Holland Art Fair, The Hague 2005 Manege, Moscow Marb Art, Marbella, Spain 2004 Art Manege, Moscow On The Wall, London Manchester Art Show 2003 Art Miami ArtExpo, New York A.F.A., Rosmalen, Netherlands 2002 Art Miami 2001 Art Miami KunstRAI, Amsterdam InterArt 01, Valencia, Spain 2000 S.O.F.A. Chicago KunstRAI, Amsterdam Art Manege, Moscow Holland Art Fair, The Hague ArtExpo, Barcelona 1999 KunstRAI, Amsterdam ArtExpo, Barcelona InterArt 99, Valencia, Spain Grantique, Rotterdam 1998 Art Manege, Moscow ArtExpo, Barcelona InterArt 98, Valencia, Spain 1997 ArtExpo, Barcelona InterArt 97, Valencia, Spain 1996 Arte+Sur, Granada, Spain ArtExpo, Barcelona 1995 Arte+Sur, Granada, Spain Plur Art, Murcia, Spain InterArt 95, Valencia, Spain 1994 InterArt 94, Valencia, Spain InterArt 94, Toulouse, France 1985 International Contemporary Art Fair, London Selected Group Exhibitions (since 1996) Michelle Rosenfeld Gallery, New York Galerie Alain Blondel, Paris Portals Ltd, Chicago Stadt Galerie Unterm Turm, Stuttgart Niagara Art & More, D�sseldorf Ir Art Gallery, Moscow Sharjah Art Museum Al Ghurair City, Dubai Abu Dhabi Cultural Foundation S�ntesi, CCCB, Barcelona ARTMAR Biennal de la Mediterr�nia, Barcelona The Solomon Gallery, Dublin Galerie Lambe�r, Valkenswaard, The Netherlands Dutch-Art.nl, Rotterdam Galerie Maas, Rotterdam Galerie Utrecht, Utrecht Sammer Gallery, Marbella, Spain Galer�a Lecr�n, Granada, Spain Artists & Illustrators, Business Design Centre, London Cornerhouse Gallery, Manchester The Independents / Liverpool Biennial Gallery Oldham, Oldham Atkinson Gallery, Southport Selective Eye, Cooper Gallery, Barnsley Bury Museum & Art Gallery Salford Art Gallery Prizes and Awards 2005 The People�s Prize, Gallery Oldham 1998 The People�s Prize, Bury Museum & Art Gallery 1985 Marks & Spencer Prize 1984 Granada Foundation Award CitiBank Prize 1982 Stowells Trophy, London Spencers' Industrial Arts Travelship Open 82. Herbert Museum and Art Gallery Public Collections Barry Friedman Ltd, New York Museum �Kunstlicht in de Kunst�, Eindhoven, Baker & McKenzie, Amsterdam PGGM, Zeist, Netherlands Veldhuizen Beens v/d Castel Notarissen, Amersfoort, Netherlands Oc� - van der Grinten n.v. Netherlands Oc�, Brussels, Belgium Royal Caribbean International, Miami Leicester Collection for Schools and Colleges Publications : 2006 ISBN 0-9524537-0-3 Monograph �Paintings�; introductions by British artist, Patrick Hughes; Art Critic, Prof. Jos� Carlos Su�rez Fern�ndez; Marjan Ruiter, director of the Dutch museum �Kunstlicht in de Kunst� 1996 ISBN 84-922010-0-2 Monograph published by SAMMER |
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| Website: www.paulcritchley.com | |
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