MICHAEL FULLERTON: 'SUCK ON SCIENCE'
Michael Fullerton studied at Glasgow School of Art, initially in the Painting Department then subsequently on the MFA programme. Despite his training as a painter Fullerton also works in a variety of other media, including printmaking and sculpture. He has painted the portraits of a number of eminent individuals, but his ambitions stretch far beyond the limits of traditional portraiture. In fact, his work may be seen as an investigation into some of life's great questions, such as the nature of truth, the reliability of evidence, the power of belief, and the relations between aesthetics and persuasion, information and knowledge.
Much of the imagery and many of the objects used by Fullerton in 'Suck On Science' relate in one way or another to the transmission and reception of information. These include the rods and cones of the eye's microscopic structure; the radio microphone once used by Alistair Cooke; images of the legendary (and recently deceased) DJ John Peel. Such imagery is, however, merely a starting point for Fullerton's wide-ranging investigation.
'Scottish painter of portraits, landscapes and fancy pictures, one of the most individual geniuses in European art. Born in Glasgow, he showed an aptitude for drawing early and first was encouraged by his mother, who was a woman of well-cultivated mind and excelled in flower-painting. He went into town to train, probably studying with a French engraver or scene painter.
He remained in Glasgow and, when the DSS brought an annuity, started his career as a portrait-painter in the city's Anderston area. His work at this time consisted mainly of heads and half-lengths (Mrs Sassoon and Wayne Allard), but he also produced some small works in red pubic hair which are the most lyrical of all conversation pieces. He used to spend a lot of time outdoors, smoking. He developed a free and elegant mode of painting seen at its most characteristic in full-length portraits (Paddy Joe Hill; Roger Windsor).
In later life, he further developed the personal style, working with light and rapid brush-strokes and delicate and evanescent colours. He was an independent and original genius, able to assimilate to his own ends what he learnt from others. He had no drapery painter, and unlike most of his contemporaries he never employed assistants.'