Faceless In The Frame

From his Isle of Wight home, artist Tim Fawcett shares the influences behind his unfussy compositions

- Sandra Smith

TIM Fawcett is my dream subject. Not only does he freely share the emotional influences behind his work, a gentle politeness pervades our conversation. “That’s a good question,” he responds on several occasions when I hone in on technique and marketing. Even my observation about his images suggesting the sort of angst encapsulated by an angry young man prompts polite amusement. Yet my point is as relevant as it is off kilter. You see, aligned with Tim’s calm manner is a heightened sensitivity to social situations ensuring the paintings created by this caring and perceptive artist filter his own feelings alongside challenging society’s standards.

“Politics has always affected me, what’s going on in the world. Day to day I block it out and carry on with my life but when I stop and think, and read what’s happening I have to express how I feel. It’s vital. I dread to think what would happen if I didn’t.”

Modern day social inadequacies are also apparent throughout this artist’s portfolio. For instance, the incongruity of intoxicated businessmen prostrate in public fuelled a series of images whose unfussy compositions highlight their fundamentally powerful sentiments; while a current focus is the objectification of women in cringing 1970’s ads boasting scantily clad models draped across sports cars.

“I want to poke fun,” he stresses, “so people look and say this is horrendous and laughable.”

He’s right. And such is the extent to which I’m absorbed by the implications of so-called professional people being out of control that it takes me a while to notice a common theme, that many of his subjects are faceless. It’s a detail which enhances the lure of these subjects, though I’m nevertheless curious to understand the underlying motive.