Proms don’t have ears Painting

Purposely unlearning the skills and creative process, Fawcett approaches his work with a child's free spirit, He embraces error and irregularity as key elements of his oeuvre. He continuously strives to create distance between his adult self and the final result, realising complex concepts and finding meaning and potential in the banal with the freedom of a child to express this. The speed at which he works often captures the energy, fed by his music which in turn often transposes into a powerful kinetic energy in his painting. His playlist can also inspire the titles of his works. The focus of the painting, often a motif, may take seconds to compose, then may be reconsidered and over-painted entirely and complete by the end of a 45 minute album, achieving a one-hit composition whenever he can. Fawcett asserts his seemingly chaotic and hurried process, builds on an obsessive amount of internalizing, agonizing, pacing around his studio, and looking into recent obsessions with family relationships and the way they resurface.