Leo Fitzmaurice | |
|---|---|
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| Born | 1963 Shropshire, England |
| Alma mater | |
| Occupation | Artist |
| Awards | Northern Art Prize (2011) |
| Website | www |
Leo Fitzmaurice (born 1963 in Shropshire, England) is a British artist.
Leo Fitzmaurice | |
|---|---|
| | |
| Born | 1963 Shropshire, England |
| Alma mater | |
| Occupation | Artist |
| Awards | Northern Art Prize (2011) |
| Website | www |
Leo Fitzmaurice (born 1963 in Shropshire, England) is a British artist.
Fitzmaurice was born in Shropshire, England, in 1963. He studied painting at Leicester Polytechnic, Liverpool Polytechnic and Manchester Metropolitan University. [1]
After leaving college Fitzmaurice moved away from pure painting and his practice eventually focussed on a strategy of intervening in already existing objects, materials and situations, a way of working which continues to this day. [1] Some of his earlier work was shown at EASTinternational [2] in 1995 where one of his pieces was purchased for the Arts Council Collection. [3] Also after graduating Fitzmaurice developed an interest in working in non-gallery situations by co-organising a number of 'artist-led' projects such as All in the Mind (1998), with artist Patricia McKinnon Day, which took place inside a disused mental asylum; [4] and Up In The Air/Further Up In The Air (1999–2004) with artist Neville Gabie, which used tower blocks as contexts for art and writing. [5] [6] In these projects Fitzmaurice worked with the artists and writers George Shaw, Julian Stallabrass, Elizabeth Wright, Lothar Gotz, Will Self, Anna Fox, Marcus Coates and Bill Drummond amongst others. [7] [8] [9]
During this time Fitzmaurice continued to develop his own practice, exhibiting widely in shows such as Good Riddance at MOT, London, in 2007; [10] [11] the international sculpture show Blickachsen 6 in Germany the same year; [12] [13] Undone at the Henry Moore Institute in Leeds in 2010 [14] (which was reviewed in Art Monthly by David Briers); [15] The Way We Do Art Now, curated by Pavel Buchler, at Tanya Leighton Gallery, London, also in 2010; [16] [17] Chain Chain Chain, 2012, at Bischoff Weiss, London, curated by Glenn Adamson; [18] and Cosmos Levels, the same year, curated by Jamie Bracken Lobb at The Sunday Painter gallery, London. [19] [20] During this period Fitzmaurice developed the long-term project Post Match which was launched in 2009 with a publication by art agency Locus+. [21] It was later shown at Gallery So in London and reviewed in Creative Times. [22] [23]
Solo projects occurring at this time include Sometimes the Things You Touch Come True at Yorkshire Sculpture Park, 2009; [24] [25] You Try To Tell Me But I Never Listen at the New Art Gallery Walsall, 2011; [26] and Blank Stir [27] at Grundy Art Gallery, Blackpool (with Paul Rooney), 2012. [28] In 2008 Fitzmaurice was commissioned by Harewood House in Leeds to make the sculptural work What Use is a Sign if We Know The Way, [29] and later that same year Leeds art agency Kaavous-Bhoyroo commissioned the found-concrete multiple work Recouper. [30]
Fitzmaurice was shortlisted for the Northern Art Prize in 2011, presented at Leeds Art Gallery, eventually winning the prize for his presentation of a slide-show of photographs and an arrangement of 13 landscape paintings from the gallery's collection. [31]
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