Recently in Paris, artist Rocco Ritchie unearthed “The Tourist” at 78 Rue De Temple. With ardent support by Giorgio Armani, the captivating exhibition beckoned guests into a visceral portal of human emotion. Skillful brushstrokes invoking the tones and textures of isolation, danger, and ambition melodically voyaged through each thought-provoking painting.
Each piece was deeply energized by personal photographs and those taken by the paparazzi, as well as by the beguiling city of Paris and the Impressionist movement. A time-honored palette of warm and earthy shades transported viewers into some of the artist’s most vulnerable moments behind or on the world’s stage, making way for a profound juncture of sensorial and intimate storytelling.
Formally trained at Central Saint Martins, the Royal Drawing School in London, and the New York Art League, Ritchie here extends his technical creative prowess, embracing a kaleidoscope of sentiments with trembling intensity. The gracious artist took a moment during a buzzing season to speak to Whitewall about his London-based studio practice, as well as feeling grateful everyday just to wake up and paint.
Rocco Ritchie, “Rue Du Temple”, 2024; courtesy of the artist.
WW: What inspired the title The Tourist?
ROCCO RITCHIE: In preparing for the show, I was considering a lot of images from my past including public paparazzi images, but with a new perspective. It reminded me of being in a state of tourism, where traveling to new places can alter your mindset.
WW: How does the concept of a tourist shape your work in this show?
RR: The works from the show are based on moments in my life which were times when I felt something very deeply. Moments of distress, unhappiness, growth, mistakes, excitement and madness.
“The works from the show are based on moments in my life which were times when I felt something very deeply,”
Rocco Ritchie
WW: The viewer’s experience of your work in this show?
RR: I think the work was well received because it was personal. I think people like to see things that are open and vulnerable, and this was a first for me.
Installation view of Rocco Ritchie’s “The Tourist” at 78 Rue De Temple, Paris; courtesy of the artist, photo by Say Who/Jean Picon.
The Endless Inspiration of Paris, the Impressionist Movement, and Life’s Journey
WW: Can you tell us about your experiences or specific locations in Paris that influenced pieces in The Tourist?
RR: Well Paris as we know has been an artistic destination for hundreds of years. I have always been inspired by the art in Paris from La Belle Epoque to art from the early Twentieth century. Being able to drink in the same bars and walk the same streets as these artists, allowed me to put myself in their shoes a little. I couldn’t think of a specific place, as no matter where you go in the city, it is beautiful, and endlessly inspiring!
WW: Were there particular techniques, colors, or materials that you chose specifically to convey the themes of travel, discovery, or transience in The Tourist?
RR: For this show I was heavily influenced by the Impressionist movement. I’ve always loved the concept of Impressionism and how it is ‘your take’ on the world. I tried to keep the consistent palette and technique throughout the show to give you an idea of being everywhere, except through my eyes.
WW: Is there a particular piece in the exhibition that feels especially meaningful to you, and if so, why?
RR: There are many pieces in the show that feel special to me. Especially those paparazzi pictures, whether that be from falling over in the street, or being arrested. I remember these pictures causing pain and embarrassment and here I was able to transform them into something more positive.
WW: How does The Tourist reflect any changes or evolutions in your artistic style since your previous work?
WW: The narrative behind the work is always very important to me, the honesty in biographical material, whether portraits in Lovers and Enemies, or here working through archival images. I have enjoyed working in charcoal in the past for its immediacy and drama, but for this show I was thinking about Impressionism, so I was drawn to using paint in this way.
Rocco Ritchie, “Car Crash,” 2024; courtesy of the artist.
The Artist’s Enduring Exploration of Creativity
WW: Can you tell us about your studio? What is a typical day like for you there?
RR: My studio is in London, not far from Francis Bacon‘s old studio. It is in a quiet residential area which allows me to focus on work as I’m constantly distracted. I try to go there most days, however that does not promise that any good paintings will be made. I usually paint in chunks of time, either all morning or all night.
WW: Is there an element of your practice you like to do each day in your studio?
RR: My studio is usually quite messy, and if I pass the laziness of not wanting to clean up, when I do clean up I feel a sense of clarity which affects my work.
WW: What were your early creative interests?
RR: I’ve been painting since I was a kid, as you may well know I grew up in a household with creativity on steroids. My mum didn’t really give us the choice, which I’m so grateful for now, but she made us try all the creative paths.
WW: What drew you to art initially?
RR: In my early teens I used to skate all day and everyday. It was my life, and ironically my first bit of identity, which I show in ‘The Tourist’. I started graffiti as it kind of went hand in hand with skating. But paint and canvas was the ultimate freedom, and that is how I fell in love with it.
“Paint and canvas was the ultimate freedom, and that is how I fell in love with it,”
Rocco Ritchie
WW: Have you always thought of yourself as an artist? Or was there a point where you felt comfortable and confident for the first time calling yourself one?
RR: Well I’m not really sure what an artist is or means. If you were to ask me 100 years ago, I think I could give you a clearer answer, however in this day and age everyone seems to call themselves an artist so it is hard to know what that really looks like. This gives me great incentive to work harder and to care less about the outside world. I definitely feel more confident after ‘The Tourist’ show, as it was the first time I showed that part of myself so honestly.
Rocco Ritchie, “Hugo and I,” 2024; courtesy of the artist.
The Ever-Evolving Shape of Inspiration
WW: Where do you typically look for inspiration?
RR: Inspiration comes in every shape and size in my opinion. It doesn’t have to be walking in the Louvre or listening to Mozart. It can be making yourself dinner or riding on the tube. There is inspiration everywhere, the question is, do you look hard enough for it.
“There is inspiration everywhere, the question is, do you look hard enough for it,”
Rocco Ritchie
WW: Is there an exhibition or work you’ve seen recently you’re still thinking about?
RR: At the beginning of making this new body of work, I went to see the Van Gogh exhibition at the National Gallery in London, which was hugely inspiring and provided a huge amount of direction to me. In some ways he too is a tourist, as a Dutch painter in France.
WW: Are there any new approaches or concepts you’re excited to explore next?
RR: I’m very excited about my next body of work and show, however at this time I’m not going to reveal too much. I’m just grateful that everyday I wake up and paint and that in itself is good enough for me.
Rocco Ritchie, portrait by Angelo Dominic Sesto.
