I don’t have an overriding theme or style which I use or can be used to identify my work. I work mainly from photos found in adverts, newspapers, books or screen grabs from the internet or off the telly.

I see an image and respond to it, wanting to employ it in a painting or base a painting on a particular image that evokes a thought or feeling. A photograph is a representation of a person or event, a painting gives more the feeling of a body or event taking place in space even if it is completely imaginary.

2 of Trumps, 2018. 31 x25cm

“Another fine mess you’ve got me into”. Oil on board, 2020, 16cm x 25cm.

Meat Liz, 2015. 49 x 70cm

Theresa May, Premier for a ‘day’. 28 x 35cm. Oil on board.

What’s on your mind today? 2017. 59 x 84cm

Pensioners, 2016, 50.5 x 40.5cm

Untitled 2011, 92 x 78cm

Prisoners 2012. 51 x 40.5cm

Yalta 2015, 51 x 70cm

A series of 4 groups of 9 paintings, each 20 x 20cm,

Disaster 9 paintings, each 20 x 20cm

Death 9 paintings, each 20 x 20cm

Despair 9 paintings, each 20 x 20cm

Doom 9 paintings, each 20 x 20cm

Memento Mori looking to the future, 2017. 60 x 5cm

From The Garden of Earthly Delights to Chernobyl. 2021, Oil, 50 x 80cm.

Crypto-anarchists, 2019, Oil, 88 x99cm

The cartoon oligarch falls before the lipstick bullet of consumerism while the tiger of wrath leaps across the global divide. Battles rage. From small arms can great mushrooms grow.

Oil fuelled conflagrations rage on land, sea and in once clear air engulfing the lives of the suffering innocent and the culpable guilty alike.

Death looks on with pleasure in his dead black eyes while an innocent Eve walks through a mayhem of atrocities’.

Richard Aulton

Tank crew. Before and After. Oil on board, each 61 x 51cm. 2022

Mexican and Tibetan iconography meet on a 2D surface. The artist has mingled cultural beliefs with a universal archetype to signify the vibrancy and beauty of human mortality in a single small but significant piece of graphic artwork rendered in a multiplicity of mediums for the observer to impute their own interpretation of the image presented.

Richard Aulton