“The other day I took my daughter for ice cream, which she was eating with a little wooden spoon, and she was re-forming her little scoops of ice cream in her mouth, taking the spoon and studying these temporary sculptures, interpreting their form in that naturally, madly associative way children have - ‘look, that looks like a bed.’ ‘Now it looks like a sofa!’ That spoke to me of plasticity, and pleasure in forms. I could see the headrest of the ‘bed’, on the brink of returning to total formlessness.
Making paintings with children, or watching them paint, you can’t help but be struck by how quickly they can generate something interesting, and how unafraid they are to obliterate it. It reminds you that paint can have a certain wildness.”
–Nicholas Hatfull (2023). Read the full interview HERE
Nicholas Hatfull (born in Tokyo, Japan) is a painter who lives and works in Norwich, UK. Hatfull received a Postgraduate Diploma from the Royal Academy of Arts, London in 2011, and was the Sainsbury Scholar in Painting and Sculpture at the British School at Rome in 2012. Recent solo exhibitions include Josh Lilley, London (2020, 2017, 2014); The Club, Tokyo (2019); and Peles Empire, London (2012). Group exhibitions include Leave the road; take the trail at Xenia Creative Retreat, Hampshire (2022); Timelessness at The Club, Tokyo (2020); Stains On A Decade at Josh Lilley, London (2019); Folly at Emalin, Airth, Scotland (2016); D’Après Giorgio at Fondazione Giorgio e Isa de Chirico, Rome (2012); and Re-generation at Museum of Contemporary Art, Rome (2012). His work has appeared in Financial Times, Frieze, Mousse, and Time Out, among others. Hatfull’s writing about painting has appeared in Apollo, Frieze, Mousse, and monographs such as Michael Armitage ‘You, Who Are Still Alive’ (2022).