mitchell fawcett Devon, United Kingdom

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Mitchell Fawcett is a UK-based installation artist blending traditional craft, immersive technology, and systems thinking to create sensory spaces that explore perception, healing, and social change.

My practice is rooted in a desire to explore how we perceive, connect, and heal—both as individuals and as communities. I create immersive installations that use elements like light, sound, mirrors, natural materials, and spatial design to construct environments that are both sensory and symbolic. Each space invites audiences to slow down, reflect, and enter into a dialogue with the unseen or overlooked—whether that’s a social issue, a personal emotion, or a shift in perception.

I draw from a broad foundation of traditional rural skills—including hedgelaying, dry stone walling, and cob building—learned through a four-year apprenticeship with the Devon Rural Skills Trust. These practices influence not just the physical construction of my work, but also its philosophy: how we build matters, and the rhythms of nature hold deep wisdom for contemporary life.

Conceptually, my work is informed by phenomenology, ontology, and lived experience. I often respond to themes such as homelessness, mental health, class systems, and environmental displacement, using symbolic forms like hexagonal pods, ephemeral “light paintings,” or restricted performance painting to explore ideas of safety, belonging, resilience, and transformation.

I am inspired by artists like James Turrell, Yayoi Kusama, Robin Rhode, Wolfgang Buttress, and Gustav Metzger, whose work engages perception, systems, and participation. I’m also influenced by technologies like projection mapping, binaural sound, and AI—not for novelty, but for their potential to create personalized, healing, and immersive experiences.

Whether crafting a dark mirrored chamber with sound frequencies and refracted light, or designing speculative architecture for displaced communities, my goal is always the same: to create spaces that ask big questions and hold space for quiet, emotional response.

My installations are not just built environments—they are systems of care, resistance, and imagination.