Andrew Litten has been an NSA member since 2006.
Attended Amersham College Of Art (specialised in painting) and later began higher art education but found it a restricting and claustrophobic experience. ‘I was not suited to art college and it became the least creative time of my life. With the realisation that I was most creative during the evenings in the privacy of my own room, I decided to drop out of art education. I wanted to find an artistic freedom away from the ‘guarded’ impersonal language of high art at the time.’ Litten traveled the UK to find inspiration within commonplace life, aiming to convey an emotive poignancy in figurative representations of ‘the ordinary’ and ‘the everyday’. The work itself was deliberately erratic and undisciplined. In a period of around four years, well over a thousand works were created on kitchen tables, in garden sheds, garages, attics, bedroom floors, and the the cupboard under the stairs.
'Litten was working in minute and small scale in the late 1980’s and early 90’s with the humblest of materials such as note paper, envelopes and biros, to surreptitiously placing works in galleries to combat art elitism (before the Stuckists did this).’ Jane Boyer (written in 2013).
During the mid 1990’s, he began employment in photographic studios ‘finishing’ hand printed photographs and the controlled manipulation of photographic imagery began to influence his own image making. Employed in London and later in Oxford, where visits to Richard Hamilton’s studio encouraged a new phase of personal creativity for Litten. With interested in the idea that the sill 2D image can be a deceitful conveyor of information - motivated by paradoxical readings between the surface image and an implied reading of hidden content; these works accumulated in various series paintings relating to hidden Internal Dialogues and the ‘Inner Voice’, representing subtleties and contradictions between public / private bodily self image.
Litten moved to cornwall in 2001 and by 2005 in a new studio, bagan creating sculpture alongside paintings, representing more direct expressions of psychological disturbance. Interest in extreme behavioral themes of depersonalisation, voyeurism and disfunctionl sexual attachment began to inform the work.
A major project work ‘Dog Breeder’ was created in 2007 for exhibition in LIME WHARF space in Vyner Street, London during the week of Frieze Art Fair. Dog Breeder commented on the absurdity of the contemporary art world and its hierarchies, ‘Dog Breeder’ made with paint and pubic hair, is intended to be seen in the Dada tradition of anti-art.
Recent exhibitions have aimed to present an unguarded empathetic attitude towards its human subjects. ‘I want to create emotively led art that speaks of the love, personal growth, anger, loss and the private confusions we all experience in our lives.’ Recent work has established strong humanistic themes such as social alienation, drug use, ageing and other issues of identity disturbance.