Guy Titterington was born in Edinburgh in 1992 and studied Fine Art at Duncan of Jordanstone College of Art, graduating with a BA (Hons) in 2015. Titterington currently resides and works in London, where his studio practice is established. His work encompasses photography, painting, sculpture, and ready-made materials.
Titterington’s practice examines the material, conceptual and economic conditions of the artwork. His thinking is informed in part by the legacy of John Latham, particularly his notion of Flat Time and the proposition of the artwork as a vehicle for thinking. In Titterington’s work CRASH, inspiration is attributed to Giuseppe Penone’s Rovesciare i propri occhi (Reversing One’s Eyes) (1970), in which the artist wore mirrored contact lenses at gallery openings, in cities and landscapes, bringing the viewer’s vision, perception and position into question.
Rather than treating the artwork as a fixed object, his practice considers it as a site through which ideas, systems and relationships can be tested. Across these bodies of work, Titterington is interested in how objects acquire meaning, how material records become images, and how systems of value and interpretation are constructed. The work remains open to the possibility that the artwork can function less as a conclusion than as a means of thinking.
The work Mileage (2019) is not on display but remains an important point of departure. For the work, Titterington travelled from the north to the south of Scotland in a Fiat Punto, replacing the vehicle’s registration plate with a canvas. The journey produced a record of movement and landscape, with the accumulated marks, atomised flies and detritus on the canvas becoming less a representation of place than a record of the event itself. These individual marks subsequently became the subject of further investigation in the new series of works presented here.
The Still Life (2025–present) series uses macro photography to examine the remnants of once-living organisms, fragments of insects and other forms of organic matter. The works shift between photographic record and abstract image, while their circular compositions suggest microscopic, geological and cosmic scales simultaneously. What initially appears distant or unfamiliar is derived from organic marks found in abundance on the vehicle’s exterior.
The windscreen provides a material connection between two technological conditions: the industrial development of the automobile and the emerging systems of automation and artificial intelligence. The ongoing CRASH (2026) series extends these concerns through hand-silvered windscreens. Titterington similarly uses the windscreen as both a physical object and a proposition concerning looking, movement and control. The car, and by proxy its components, become representations of past and future industrial revolutions, providing an opportunity to consider our current autonomy and technological advances.
Tomorrow’s Worlds (2026) is Titterington’s third work in the exhibition. Comprising printed coasters and crystal-domed enlargers lit with Anglepoise lamps, the installation creates an anthropomorphic tableau in which familiar objects are transformed through scale, light and perspective. The work invites the viewer to step back from their immediate surroundings, adopting a more distant, observational position. Evoking an Orwellian landscape, it considers mass surveillance, totalitarian power and the growing presence of artificial intelligence in everyday life.
Exhibiting at the Royal Scottish Academy provided a significant early platform for Titterington shortly after his graduation. He participated in RSA New Contemporaries, marking his first major exhibition post-graduation. The institutional prestige of the RSA, with its long-standing history in Scottish art, introduced a level of seriousness to the development of his practice.
At RSA New Contemporaries, he was awarded the RSA Art Prize, which included participation in the New Scottish Artists exhibition at DRAF, London. This accolade provided funding for both professional and personal development, as well as an opportunity for celebration. The RSA’s role in uniting artists working in Scotland, or in relation to Scotland, remains significant in Titterington’s understanding of the artistic community. At the RSA, he reconnected with Scottish artist Kevin Harman, leading him to work for Harman from 2018 and to become an active member of Ltd Ink Corporation from 2019 to 2022. His experience working within Harman’s studio and alongside Ltd Ink Corporation enriched his understanding of artwork as both an individual object and as part of a broader network of production, collaboration, and exchange, both within Scotland and internationally.
