Andrew Litten 'The Human Shadow (The Animal Smile)'

AL: I started depicting animals in my very early work and they became part of the domestic humble aesthetic
I was wanting. I also used to include taxidermy animal parts of birds in assemblages and had a lot of fun
with that.
When I later switched to life size figuration around 2010, the increase in intensity of my engagement was
significant, physically, and psychologically. The animal references, I think, exist as an extension of the figurative
identity, like a smaller compartmentalised state that co-exist with a different energy. It’s fascinating how
animals use their senses in a different way to us, and I sometimes try to creatively suggest this swich in
interpretation - like an alternative sensory stimulus to embody. I can’t particularly explain what I mean, now
that I am trying to put it into words, but when I am creating, I can feel it, and it makes sense why the animals
need to be there.
Art has often represented animals to convey the natural world with a respect between humanity and nature. I
think the line between us and animals is perhaps more in our imagination that we pretend. I also like the idea
of using animal references in my art to represent wider anxieties of the uncomfortable animal instincts within
us - group behaviour - wild freedom- only being partly civilised. In this way, animals are good for us to think
with in art.
LC: That’s a good way of putting it: animals as an extension of the figurative identity and a way to
engage with art. Someone, I can’t quite remember whom, described Francis Bacon’s dog paintings as ‘the
anguish of contemporary life’, which seems to resonate now, post-COVID. Looking at your animal works,
I am reminded also of mythological hybrid creatures such as sphinxes: half human, half feline. In Greek
mythology, it is said they symbolise mystery, enigma and brutality.
AL: Yes, that brutality can be there. Lucas Cranach’s paintings of animals often have a curious blending beast
and humanised qualities, particularly in his allegorical compositions. I love his painting Garden of Eden. His
paintings are oddly primitive and sophisticated too, and I really respond to that.
LC: It is interesting to see more of your sculpture. What is your approach to this medium in relationship
to painting?
AL: I have always made 3D work along with painting, but this used to be mainly assemblage. When I started
focussing on large scale paintings, I began making models with clay to refer to. I like the way sculpting seems
to use different areas of the brain. These sculptures are made as independent things but often relate to certain
paintings. About 3 years ago I realised that casting in bronze can better reflect their intentions and with the
support of Anima Mundi we made this happen.
LC: What inspired the exhibition and why the title ‘The Human Shadow (The Animal Smile)’?
AL: I wanted a title that was difficult to pin down. I like the disconnect it creates in the mind with space for interpretation.
I wanted this exhibition to express energies and instincts that are at times unexpected, or defy logic.
I had the idea of a shadow imprinted in our DNA, however putting it more into words is not want I want to do.
As a side note - and I don’t want to go too far down the autobiographical route and explain everything from a
personal perspective, but it is unavoidable fact that I have been grieving a significant loss. The re-balance and
cognitive rewiring is profound for me at this stage. The need for a meaningful connect with nature, people and
creativity is deeply felt. Grief has created a surge of opened vision. This exhibition is unavoidably an expression
of this, and it is, I believe, positive in outlook. But of course, an emotional connect can be complex, confused
or frustrated so I also want the art to speak this language of longing.
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CATALOGUE.indd 31 08/07/2023 12:11