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Sean Fitzgibbon


Artist Sean Fitzgibbon exhibits work on the east coast and throughout the Midwest. He has illustrated books and is currently illustrating a documentary style graphic novel that chronicles the Norman Baker years (1938-1939) of the Crescent Hotel in Eureka Springs, Arkansas.


My art is composed of drawn and painted, interconnected images that explore concepts of mystery and perception while incorporating many visuals observed through my travels. Wanderlust inspires much of my art because new experiences thrust me as an observer into the present, and as a result I find myself appreciating the beauty of my surroundings.

In my work, a compilation of drawings often manifests as a loose narrative to draw relationships between the juxtaposed images. I utilize the element of space to propel the viewer into the image so she or he can explore as a participant, and I incorporate various media in my work such as acrylic, color pencil, charcoal, ink, torn paper and other found objects to demonstrate the randomness of human consciousness. I also employ monochromatic, muted or earth-based colors, but occasionally bits of saturated, vibrant color are prevalent depending on the clarity and focus of the image.

Layering of images is also a theme in my work. This method is used to help illustrate the ever-changing landscape of life, the planet and the mind. My images are rendered in various levels of clarity to show the haziness and lucidity of dreams and memory. Blurriness in my work is used to illustrate faded memory, foggy clairvoyance and obscure thought. The indication of diagrams, letterforms and shapes helps bring about the impression of discombobulated images of the past or predictions of the future. Images sometimes repeat throughout the work as reflections or echoes, and horizontal formats encourage the viewer’s eyes to move from left to right, much like a narrative or a time-line.

The passage of time is a major theme in my work because I am intrigued by how chronology and space become disoriented in the unconscious mind. In my work, human figures are often depicted as statues displaying life-like qualities, expressions and emotions, and they frequently become the focus of my compositions. Because of this, the lines between the living, inanimate, dreams and reality blur irrevocably, while the division between the physical self and the natural world recedes. Architectural structures found in my work also help gauge time due to various styles and levels of dilapidation. I juxtapose old and new structures to reinforce the relentless progression of time.

Through the meshing of various environments, eras, imagery and media I explore the interconnectivity of the world, and I hope the viewer experiences the same admiration for our diverse yet kindred existence.