Michelle N McGlynn
Imaging Wales...[Hugh Adams] quoted
Kim Fielding as an interesting example of the hybridity so frequently encountered amongst contemporary artists. He has recognised the difficulties of non-metropolitan artists gaining sufficient critical attention or even getting exhibitions and has confronted the problem, full on. Hence he is not only an artist but curator, commentator as a well as a considerable entrepreneur and cultural mover and shaker on an international level.
His own work is invariably photography based and rooted, as he himself would say, in the sinister side of humanity: “humour found in the most bizarre, beauty in the most abject objects, terribly dark and intimate” as he wrote in Evolving Intent, a personal work statement for the group exhibition Stimulata, which he curated and which travelled internationally. In her Notes for the Glassworks exhibition (2002), the artist Sara Rees concurs:
Fielding’s photographic art, taken as a body of work, appears schizophrenic. There is the portraiture – performance documentation works, the sexually-deviant decadence of his Stimulata pictures, and his relentless paparazzo eye at openings… to engage with his work is to cross to the wrong side of the tracks, where our nice middle-class sensibilities are confronted. This does more than ask us to question the nature of the aesthetic experience and how it is bound up with judgement and taste. What dark and melancholic beauty, while in the apparent superficiality and frivolity of kitsch, he exposes us to the Uncanny.