Fitzpatrick’s sculpture, I Love you, I Love you, I Love you is a caricature of a grandee adorned with his wig and medals. His grandiose appearance is coupled with a gruesome bloody smile, protruding belly and oversized stomach questioning the legitimacy of his authority and the righteousness of his motives. Talking about Charles Dickens, Jamie Fitzpatrick commented that the writer is able to make characters in positions of authority appear ridiculous. He suggests “They’re colourful, they’re garish, they’re not taking themselves seriously, and I think there’s something quite disarming about that, pretending to be nonchalant but actually making a much deeper point.”
This is apparent in the way his works at first glance may appear comical and absurd, but later the serious underlying message proliferates. For example, the crude wagging genitalia, saluting their leader, at the bottom of is a homage to Freudian theory and the oppressive nature of a patriarchal society. One of the figure’s legs appears unfinished, cementing him to the podium, rendering him unable to free and relieve himself of the viewer’s condescending gaze.
The artist also relates his practice to Hogarth and Gillray, suggesting abstraction (or fiction), as opposed to reality, is a lasting method of critiquing society. He believes the underlying theories within a work of fiction can continue to be valid even after the event in which it was written for has subsided, in a way the real cannot. During his trip to LA, where he attended a talk by a queer theory activist group, the Freudian theme inspired him to create a work discussing the way in which leaders are chosen. He highlights that the talk discussed the relationship between Freudian sexuality and the way authoritative figures are chosen in regard to how they fit into the fatherly figure stereotype, the “bad dad parental figure, a kind of oppressive father figure.” This reminded him of psychoanalysts such as Wilhelm Reich who had previously made an impression on him.