Harry Little

city
Somerset (UK)

Through my work I express the discomfort of the present. I am driven to create socio-political commentaries, and through these I try to express the anxieties, tension and isolation found within our twenty first century society.

I am very process driven. I work with oil paint on wood boards. I manipulate countless layers of paint across my boards, constantly applying and removing, scraping and labouring the paint until it fulfils its intended purpose. My paintings flourish through a combination of chance and precision and can take from days to months to become finished. I enjoy trying to distort the paint into a surface that bares no physical signs of human contact, as I feel this allows the artwork to breach the gap between painting and image. This helps my works move from paintings into my chosen depictions. Regardless of a piece’s outcome, it is not discarded; instead, when a painting loses its intended form it is stripped of paint and reworked repetitively and obsessively until it aesthetically represents its exact intention. 

While my painting process is seemingly jumbled and random, there is a distinct and direct style to it. This is also true about my work’s subject matter; while a works meaning may seem tangled and unclear, each piece holds a solid and thought out meaning. 

My art has developed as a body of expression derived from my own personal experiences, challenges, and viewpoints, and therefore, inevitably, acts as a deeply personal form of expression to me. Content wise,  my work currently explores two different avenues which intersect and can become tangled. The first is expression through the personification of my emotional state of mind. The works exist to ‘challenge and confront’ the viewer with honest depictions of the discomfort of reality. The second is through painting scenarios of socio-political relevance to myself. I enjoy working around themes of inequality, discomfort and claustrophobia within our current society. I  try to orchestrate a scene or situation picked from our current society which I find noteworthy or relevant. Recently, my painting’s inspirations currently apply to the second type of painting.

The artwork Brine tries to accomplish a depiction of wasted time.
The painting aims to convey the feelings of mundanity, banality and emptiness which commonly accompany the 21st century lifestyle.
I tried to replicate that feeling of underachieving and remorse just before you go to sleep, the longing for fulfilment; something which, like myself, most people experience through their day.

Each artefact within this painting was carefully thought out and placed with reason, with the specific intention of representing some aspect of the slog that life can be; hours that are meaninglessly lost, half smoked cigarettes. Everything in this painting tries to act as part of the unfulfilled routine of wasted time.

Most of my artworks are very process driven, and this piece is no exception. I work and re-work areas countless times, applying, removing and manipulating the paint until it reaches its intended purpose. This allows my works to take on unique textures and elements, by-products of the technique, and aspects which can be commonly lost within precise and planned artworks.

work

A generation of middle children

A generation of middle children

Study of Louis

Study of Louis

Study of the back

Study of the back

The train

The train

The blind man

The blind man

Brine

Brine

£ 1400,-
The switch

The switch

Dial tone

Dial tone

£ 1200,-
Study of the Mona Lisa

Study of the Mona Lisa

£ 450,-